Album: Mirrorring - Foreign Body

Album: Mirrorring
Kranky
Release Date: March 20, 2012
Rating: ******** (8/10)

If there was an award for saddest-slowest-quietest abstract songwriter of the last five years, Jesy Fortino (better known as Tiny Vipers) and Liz Harris (better known as Grouper) would have to duke it out. But there is no such prize. Instead, Fortino and Harris have formed some sort of sad-slow-quiet abstract Dream Team, named it Mirrorring, and put out a record. >> Read the full review at popmatters.com

Live: S.V.B., Panda Riot, Electric Djinn

When: 5/20
Where: Studio Maya

This has got to be one of the strangest shows I've ever been to.  Organized by experimental psychedelic shoegaze band So L'il (aka Gracefully), the show was in a well-lit studio space in Prospect Heights that I'd never seen or heard of before.

So L'il took the stage first but joined forces with R&B/hip-hop trio Booboniks for form a new group, Solilian von Boobonika, a.k.a. S.V.B.  I wasn't sure if they'd be able to pull it off, but they did and it was awesome.  So L'il played their usual layered, ambient psychedelia, and somehow it meshed perfectly with Precious's soulful singing and Booboniks' slick hip-hop beats to form some of the most innovative music I've heard in quite a while.

The only weakness in the performance was the contrast between the two vocal styles - So L'il's Sharon's dreamy, reverbed vocals were too far afield from the forceful R&B pipes on Booboniks' Precious.  There were a few moments where it worked, but the jarring difference between the two women's voices was mostly just awkward.  Regardless, it's impossible to deny the amount of talent in S.V.B.  See for yourself: here's a video from the show.

I've wanted to see Chicago shoegazers Panda Riot for years, but they don't come to town very often.  The group's very gazy-gauzy guitars blend with electronica and it's all held together by the dreamy indie-pop vocals of Rebecca Scott (who also plays keys and guitar).  Across from her, guitarist/founding member Brian Cook and bassist Justin Cheng stood awkwardly close to each other and while they did seem to spend a lot of time admiring their own feet (as the genre's name would imply), they also moved a lot.  Center stage, the more manic Jose Rodriguez supplemented the band's drum machine beats with a snare, tom and cymbal.  Although his stage presence was the most energetic, all four pandas seemed to be having a blast.

It's impossible to say what makes this band great.  Each element just works: Cook's pitch-bending wall of guitar sound, Cheng's dry, trip-hoppy bass lines, Scott's spacey, melodic singing, the drum machine's slick, trip-hoppy beats and Rodriguez's more earthy drumming.  The band played many of my favorite songs of theirs and plenty I didn't recognize, all gorgeous, electrogaze dream-pop numbers played with joy and care.  Here's a live video from a different show.

The third band of the night was one Electric Djinn, which featured primarily members of the long inactive band Lumipad.  They are an odd odd odd band.  The members, who skew considerably older than the other bands, seem genuinely insane.  The front person (who was not standing in the front) was a striking woman behind a keyboard who less sang than melodically incanted.  Indeed, it felt more like performance or even ritual than simply a concert.

There was one woman dressed in black, seated in a folding chair and facing perpendicular to the audience.  She was adjusting a small electronic device throughout the performance (it looked like a wireless router) but seemed entirely disengaged from the band.  It was as though she'd been sitting on the chair playing with this device forever and when a band just happened to set itself up around her, they were invisible to her (and her to them).  It was cool, but weird.

Musically, the band combined a wealth of obscure influences.  There was some free jazz, especially via a trombone, ambient electronica, psychedelia to the point of prog rock (if not in sound, then in attitude) and abstracted krautrock.  Reference points could include Art Bears/Henry Cow, Red Crayola, King Crimson, Zappa, Neu!, Brian Eno, John Cage, Albert Ayler....well, if you know those bands, you get the drift.  If you don't, just think head(y) avant-garde, psychedelic electronica meets LSD-decimated performance art.  In a good way.

I missed the last band cause I weren't feelin well.  Sorry Season Finale....

Album: The Anters - Burst Apart

Album: Burst Apart
Frenchkiss Records
Release Date: May 10, 2011
Rating: ******** (8/10)

It would be difficult for me to overstate the impact that the Antlers' debut album, Hospice, had on me when I first started listening to it in early 2009. The arrival of my review copy coincided with a moment in my life when I was turning to face certain demons in my past. Hospice put into words, into sounds and into metaphor what I couldn't - the feelings of guilt and confusion that haunt us in the wake of abuse by a loved one. (Many critics seem unable to grasp metaphor and insist the album is about a dying friend, but Peter Silberman, Antlers' songwriter and singer, stated in interviews that the album was about the breakup of an abusive relationship.) I was at a dark point and felt no one could understand - until I heard Silberman singing exactly what I was trying to express. Hospice was a comfort to me, and a guide, and the first time I felt any absolution from the guilt that had pervaded my life for over a year.

So it's impossible that the Antlers' sophomore release would live up to that standard. Hospice grew out of an experience that was not chosen and out of Silberman's subsequent search for understanding and absolution from those closest to him. It's an intensely personal album that always sounded like it was directed more towards friends and family than to an audience of unknown fans. (After all, when Antlers wrote the album, they didn't have fans. I remember seeing them at Cake Shop in January 2009 with a whopping 15 people.)

As much as I touted Hospice, as much as I wanted that album to reach everyone who needed it, I knew success would likely doom the band to musical mediocrity. But when I saw the name, cover art and track listing for Burst Apart, I began to suspect the band was going to pull it off.

And they have. They made good decisions, particularly in not trying to make Hospice, Part 2. Burst Apart is not a concept album and surprisingly, it's not bloated at all. The band also found a way to take advantage of actually having money to record and to become more radio-friendly without capitulating to trend or losing their unique sound. Indeed, Burst Apart's most notable accomplishment lies in the way it establishes the Antlers' sonic identity, staying true to the musical ideas explored in Hospice but also growing naturally into the band's audibly higher production budget. The band passed their toughest challenge with more sure-handedness than anyone could have expected.

The Antlers have said that they wanted to explore a broader emotional range on their second album and hope to establish that they aren't just sad. But with song titles like "No Windows," "Every Night My Teeth are Falling Out" and "Putting the Dog to Sleep," Burst Apart isn't exactly a barrel of laughs. The album is still melancholy, but it is infused with hope and redemption.

"I Don't Want Love" is the perfect opener. It recycles a melody from Hospice (an album that was defined by its reappearing melodic themes) while showcasing the band's shiny new sound, larger and brighter than anything on the first album. The song is breathtaking, one of the band's best to date, all glimmering layers of guitar and synth. It shows a band ready to pick up where they left off and move forward into new territory - musically and emotionally.

Despite successfully establishing the Antlers' identity, the album does suffer in some production choices. In particular, there often seems to be a disconnect between the many layers in the sound. It's obvious the band is not attempting to recreate a live sound, nor should they, but the studio imprint on Burst Apart, the gaps between each instrumental line, dilutes the album's humanity and damages its sincerity. In addition, the heavy effects, mostly reverb, put on the drums often come off as a bit cheesy and lacking in subtlety.

The second song, "French Exit," is a great, radio-ready pop hit, but it suffers from an uncharacteristically bad mix - the synth that carries the melody between vocal strands is far too high in the mix, effectively killing the actual complexity of sound behind it. It's an odd error for a band that usually excels in this area, particularly given how low Silberman's vocals are mixed throughout much of the record. Still, the strong songwriting makes "French Exit" a single-worthy, if flawed, track.

Next up, "Parentheses" shows a grittier, darker side of the Antlers. Silberman's high voice often recalls Thom Yorke, but here the elliptical dub-style bass and crunchy guitar scream Radiohead. While the song fails to quite reach its potential, it hints at what this band may be capable of, at what we might hear from them in years to come.

The middle of the album does drag a bit. There aren't any bad songs in the bunch and quite a few interesting ideas such as the juxtaposition of frail sounds (e.g. banjo) against swelling seas of synth or the low-mixed syncopation that pins down many songs. "Rolled Together" stands out, a brilliantly understated, bluesy ballad that drifts gently into existence but never builds much beyond a whisper. "Every Night My Teeth Are Falling Out" is another signature Antlers' song, boasting one of their best melodies yet. Still, sandwiched between weak tracks, these gems fail to generate the momentum they should. "Tiptoe" is probably the album's weakest point, a two-minute instrumental, that (mostly because the muted trumpet) doesn't fully mesh with the rest of the album - instead of building a bridge into the following track, it stagnates a bit.

"Hounds" is put in an unenviable position - a five minute track near the end, it's hard not to take it as some sort of intended climax. Twinkling guitars and distant-yet-warm vocals envelope the listener. The song may fall short of the masterpiece it's meant to be, but its restrained melodic hooks and subtle horns are triumphant and leave no doubt of the band's growing maturity and sophistication.

But the two closing tracks may be the album's greatest achievement. The lullaby hymn "Corsicana" treads lightly, but its sparse melody is deceptively powerful. The final song, "Putting the Dog to Sleep," is simply devastating. His clear voice punctuated by R&B guitar and bare-bones drums, Silberman is at his best. In some ways, the song sounds very much like Hospice, the compelling melody, the searing pain, the brutal lyrics. But it also shows how far the band has come, seamlessly incorporating new influences (like R&B), breaking the sound wide open, at once gigantic and sparse, vaulted in a way the claustrophobic Hospice never was.

Burst Apart is not as flooring a personal accomplishment as its predecessor, but it shows the Antlers at a new level of professionalism. And most importantly, it establishes the Antlers have greatness in them. It's rare that a young band can establish such a distinctive voice for themselves, especially in the wake of such a rapid rise to fame in 2009. It's a signpost, a foreshadowing of greatness to come. The Antlers have what it takes to change the course of independent music. They may still sink into banality, but if Burst Apart is any indication, Antlers have something earth-shattering in them. It's not here yet, but it's in them, that identity and drive that only comes along a few times in a decade. I knew it when I first saw them live and when I first heard Hospice - these guys are something special.

Album: 28 Degrees Taurus - All the Stars in Your Eyes

Album: All the Stars in Your Eyes
Self-released, 2010
Rating: ******** (8/10)

I listen to enough music at this point to be pretty jaded, and even when I really like something, there's a certain rush that I just don't get anymore. Sure, I can get excited about a lot of bands and jump up and down on the subway platform like a maniac and listen to songs on repeat for days on end, but there's a particular thrill of discovery that's an inevitable casualty of time and experience.

There are a handful of bands, however, who can bring that feeling back, like I'm fifteen and putting on some mix CD from my bandmate for the first time. Back then, everything sounded fresh and original but now, it's a rare band that doesn't automatically lock into a neat little slot of context - influences, artistic movements, harmonic analysis and all the rest. But sometimes, with originality and passion, a band can shut down my nerdy neurons and just make me happy. And 28 Degrees Taurus is one of these few.

It's hard to say exactly why. After all, it's not hard to play "name the influence" with the band's music - dream pop, shoegaze, psychedelic and ambient music make up 28DT's not-so-uncommon parentage. Still, there's something in the druggy haze that sets the band apart, a sort of new interpretation, or misinterpretation, of its sources. Like so many great bands, 28DT seems to have found their genius by accident, by following instinct and passion and genuine insanity and having enough talent to make their unintended experiments well worthwhile.

I don't want to exaggerate the band's originality. In many ways, they sound like any of dozens of the shoegaze revival bands that populate our fair East Coast these days. The clouds of guitar, measured drumming and subtle, guiding bass don't immediately stand out. It's in smaller ways that 28DT make themselves relevant. The ringing guitar riffs often have just the slightest hint of oriental modes, while the interplay of Karina Dacosta's floating, high-range melodies and Jinsen Liu's nearly-as-high, aspirated, otherworldly whisper make the record unmistakably 28 Degrees Taurus. The guitars wobble and shimmer if held underwater - in fact, even the drums seems as if seen from behind glass, perfectly clear yet somehow distant.

On the opening track, Dacosta's vocals rise with noticeable purity above the uncalm noise of the guitar in a sort of half-human duet. "Turn Me On" achieves a similar effect, but built on a more solid rhythm section into a more conventional song. Next up, "Universal Love" severs the album's last ties with the earth as Liu's strange voice takes the fore. The album doesn't wane on "Seeking Heat" and "Electricity" either, the former held aloft by Dacosta's breathtaking melody and the latter driven forward by Liu's gently raging guitar.

The entire album doesn't quite match its opening. "Sun Chaser" is an interesting experiment in blatantly country-style slide guitar, with a 28DT twist. The band tries the same experiment again "Missing You," again with success. Unfortunately, some of the other later tracks are just not as memorable and not only mildly disappoint, but also dilute the quality of the earlier songs. Still, they aren't bad songs by any means and the album is strong enough to withstand some simply "pretty good" filler.

I don't know that 28 Degrees Taurus will ever catch on in a big way and I don't know that they necessarily want to. Still, they remain one of the best and by far one of the most underrated East Coast bands around. They are better than 95% of what gets love from the indie scene. That's not just because they're more talented but also because they're more passionate and honest and pour more love into their music than the vast majority of bands. They have that purity of intention and a courage of exploration that, as a listener, I lost long ago. And reminding even a few listeners of that feeling is more than most bands can ever hope to achieve. Thanks, guys.

[myspace]

Albums: The Depreciation Guild - Spirit Youth

Album: Spirit Youth
Kanine, 2010
Rating: ***** (5/10)

So Depreciation Guild are three attractive (if short-ish) guys who play electronics and guitars and make electro-shoegaze-pop. It's a good enough combination to pique my interest and the interest of quite a few young hipsters as well. But the band is starting to wear thin already.

Spirit Youth starts with cheesy electronics that open into a reasonably dense wall of sound and an interesting-enough melody. If the album kept this up, it would be decent, even interesting, but only three or four minutes in, the melody shifts to something off Top 40* radio - you know, where the guy's voice drifts around to a bunch of notes so that the tweenage girls think he's so talented. Not that Depreciation Guild are trying to win over tweenage girls - but then again, maybe they are.

The lyrics are deeply lamentable. A song titled "Crucify You" doesn't exactly bode well and it certainly lives up to expectations: "Sometimes I can't control the things I do / but you know I always want the best for you / ...I will crucify you." Yikes. And the rest of the album follows similar lines, although luckily, sometimes the lyrics aren't really audible.

With the highish, processed male vocals, Depreciation Guild sound like Mew but without the darkness and volume that keeps Mew at least semi-interesting. Instead, Spirit Youth is flowery and sappy and even formulaic. I like a good pop melody, but a good pop melody is like the Beatles or even like Depreciation Guild's Kurt Feldman's other band, the Pains of Being Pure at Heart. It's not this formless three note banality.

Now, the shoegazer in me does have to give the band some credit. Each song is packed with a shimmering wall of sound and the arrangements - electronic lines cutting in and out, layer upon layer of processed guitar, it's good, solid, dreamy noise pop. There's nothing amateurish about Spirit Youth, particularly where sonic polish is concerned. Every sound in every song seems painstakingly shaped and mixed, forming lush waves of noise that few bands could match.

However, the sonic success is not enough to really make this album worthwhile. Twice, I tried to relisten to this album today to refresh my memory for the review, and both times, I could only sit through a few songs, all with the same sound, same tempo and same nebulous sort of melody, before I shut it down and turned on Sleigh Bells.

Hey, at least the album art is cool! [myspace]

* There are some good songs in the Top 40 from time to time. I am just referring to the bad Top 40 songs. And that is the majority.

Album: Sightings - City of Straw

Album: City of Straw
Brah, 2010
Rating: ******** (8/10)

I'm not one to put up with inaccessible crap that poses as art so from the start, I had my doubts about Sightings. The band's music is based on melodiless drones, harsh guitar noise and fragmented pulses. However, in the several live shows I've seen, Sightings prove their noise and drone is crafted and focused, smart, emotive and riveting. City of Straw is my first taste of Sightings on record and it's as much a controlled burn as the live show.

City of Straw opens with a crackling, shallow rhythm that seems to encrypt sheer horror in a broken morse code. A minute into the track, the popping and clicking is supplemented by heavy, relentless thud that has all of the inhuman finality of gunshots. A guitar scrapes hissing sheets of noise. Mark Morgan's vocals sound traumatized, their unemotional monotone a hinting at melody. Not that there is potential for melody but rather that there still stand some charred ruins where a melody once was.

The more challenging "Jabber Queens" follows, shuddering to life with a bass positively vomiting notes - far more notes than could fit comfortably in the space - while Morgan's rant slurs, consonants stretched unnaturally over pealing guitar like the vocal track had been jumbled by slow-attack and delay effects (but I don't think there are any effects on the vocals here).

The tightness established in the first track, however, doesn't completely unravel until the title track, a sprawling nine minutes of stuttering noise and murk with erratic, muttering vocal narration and metallic guitar effects that devolve into a sound like post-apocalyptic bowed strings. But just when the album risks losing us, it crashes back into focus with the concise rage of "Saccharine Traps." Morgan actually yells here, his voice laden with distortion and mixed far too low to permit any attempt to decipher lyrics. A short, asymmetrical beat loops as feedbacking guitar lines careen and clash in mid air. The bass knots into itself, a quiet, restless, cold-blooded rumble.

"We All Amplify" follows in the vein of the title track but with somewhat less success. While "City of Straw" seems pointed and controlled, "We All Amplify" becomes unspooled to the extent that it really does border on monotonous. Like "Saccharine Traps," "Weehawken" takes a more direct approach, but again falls short of the earlier track. Its noise fails to find its rhythmic underpinning, looping through a short circuit that is clearly not random, but honestly might as well be.

Unfortunately, the album never quite recovers. "Hush" does not have the urgency of earlier tracks while "Sky Above Mud Below" lacks emotional depth. That's not to say they are bad tracks - they aren't - but the opening half of the album sets a high bar, making the weaker points glaringly disappointing.

However, despite these shortcomings, City of Straw is richly satisfying and heck of a lot better than most of what's getting put on record today. Bold and original, engaging and masterful, City of Straw is what experimental music should be. There's no bullshit here. Every sound serves a purpose. Taken as a whole, City of Straw is the kind of record that should be remembered ten and twenty years from now. Born not only of sincerity but also necessity and crafted with artistic intelligence, it tastes like fresh air in the stale indie world. [myspace]

Who to Watch in 2010: The Deja Vu List

Last year, I listed bands to watch in 2009. I definitely got a few right and a few wrong. Others, I think, are just a matter of timing and yet more are just continuing what they started. That means there are a few repeats from 2009 on this years "To Watch" list. These are they:

The Antlers - This is one of the bands I got right for 2009. But despite their massive climb in 2009 (they appeared to have all of fifteen people at a show in early 2009 and recently sold out Bowery Ballroom), I think their ascent has only just begun. They make sad ambient rock a little like Radiohead or Arcade Fire. [MySpace]

Coin Under Tongue - I recommended these guys back in June for the second half of 2009. They've been a bit slow to catch on, but I still think they are headed for greatness. Great sludgy post-hardcore with a keen melodic sensibility.

Coyote Eyes - Another one I recommended back in June. These guys are one of the most promising Brooklyn bands, playing arty post punk with a totally fresh sound. [MySpace]

Led Er Est - This band didn't make as big of strides in 2009 as I expected. But they have a lot of potential and lately, they seem to be gaining some real momentum. Their gothy no-wavey drones are certainly better than a lot of what's been getting hype lately. Expect a lot more in 2010. [MySpace]

Pterodactyl - 2010 might not be the biggest year for these guys because I don't know if they have any plans to release a full-length album. However, given that they remain one of the most innovate and underrated bands in Brooklyn and given that they are on the radars of most indie critics at this point, I think this band is still very much on the ascent. [MySpace]

The Ruling Class - This UK band hasn't yet had the break-through they deserve but I'm starting to see them on the radar at last. They are the most talented britpop group since the early 90's and 2010 should be their year. [MySpace]

Screaming Females - Okay, they weren't on any of my "to watch" lists, but I've talked about them so much, they may as well have been - and then some. They are probably the best indie rock band left on earth and yes, 2009 was tremendous for them, but I think they'll go even further in the years to come. [MySpace]

Sisters - Another band from my list in June, Sisters are an amazing duo with talent and spirit and their name has been in the The New Yorker, so 2010 is certainly looking bright. Their lo-fi noise pop will delight fans of everything from twee to 90's indie to punk rock proper. [MySpace]

NEXT>> Part 2

Best Albums of 2009, Part 5: #5-1

PREVIOUS>>
Part 1 - Rules and Runners Up
Part 2 - #25-21
Part 3 - #20-16
Part 4 - #15-11
Part 5 - #10-5

#5

The Horrors - Primary Colours
XL

I've hated on the Horrors pretty seriously based on seeing them live, but after a recommendation from my punk heroes Fucked Up, I decided to give the album a fair chance. And I gotta put my foot in my mouth after those snide remarks. This band is what it would have sounded like like if Kevin Shields had been Joy Division's guitarist instead of Bernie Sumner. The guitar itself isn't mixed high, but its twisted reverb and overtones play off the tense Peter Hook-esque bass. The vocals are influenced by Ian Curtis in their flat, desperate melodies, but the delivery is slightly higher and younger - this is no aping. The songwriting may be a throwback to the 80's, but sonically, despite each component's obvious roots, Primary Colours sounds far more ahead of its time than it does retro. Moody but catchy, the Horrors' music is well worth the attention it's garnered. I'm sorry I didn't know that sooner.

How I found it: It was Fucked Up's Best of 2009 list that made me give it a fair chance
Track picks: "Mirror's Image," "Who Can Say"
Link: [MySpace]


#4

Pterodactyl - Worldwild
Brah

As I explained, this is a list of "most exciting" albums, and Worldwild is certainly that. It may not be as professional as the releases by been-around-the-block musicians like Sonic Youth, Raekwon and Flaming Lips, but it proves that it's still possible to find new directions for music in 2009. And though Pterodactyl sound like no one else, they are accessible and melodic. Fast, arpeggiated guitars, jumpy drums and soaring multi-part vocals combine for a totally fresh take on indie rock. The whole album speaks of exploration, energy and elation. Even the album cover, depicting two hikers under a glitchy, digital rainbow, evokes a strange and beautiful otherworld. Unjustly overlooked, Worldwild is good for your brain and your heart.

How I found it: They opened for Oneida.
Track picks: "One With Everyone," "Share the Shade"
Link: [MySpace]


#3

Wavves - Wavvves
Fat Possum

Last winter, Wavves was the first breath of fresh air for me as an indie reviewer. It's a return to the simple, minimal, poppy guitar punk of the 80's. There's no gimmick, there's no bullshit. I know something this simplistic doesn't sound revolutionary, but in a scene dominated by orchestral pop, self-aware art rock and pseudo-ironic hipster club tunes, someone needed to bring us to our senses. And who better than the 21-year-old slacker Nathan Williams whose four-track tunes exploded out of his bedroom and across the indie world last winter and spring, then crashed and burned its way out of the spotlight just as fast? We'll see if Wavves can dust themselves off from their sharp tumble and continue on, but what really matters is that in 2008 to 2009, they were exactly what indie rock needed.

Read more from the original RFR review...

How I found it: I don't remember!
Track picks: "California Goths," "No Hope Kids," "Beach Demon"
Link: [MySpace]


#2

Dinosaur Jr - Farm
Jagjaguwar

In the 1980's, Dinosaur Jr put lead guitar back into indie rock. Without their tuneful but heavy anthems, rock would not be the same today - they paved the way for grunge and 90's punk bands like Nirvana, who, um, might have influenced other bands to say the least. Though J Mascis has most of the songwriting credits, Dinosaur Jr's unique energy has always come from the friction among its three members. Farm can stand alongside the band's best (i.e. first) albums, and for those of us who weren't yet in kindergarten when the band first imploded, it's great to experience Dinosaur Jr not as some historical artifact but as something relevant to our time. They may have some gray hairs, but Dinosaur Jr haven't aged at all. And what could be more exciting than a truly great album by one of the greatest rock bands of all time?

How I found it: It's Dinosaur Jr, duh!
Track picks: "Pieces," "See You," "I Want You to Know,"
Link: [MySpace]


#1

Antlers - Hospice
Frenchkiss

Hospice is the kind of album that changes lives. Exploring the guilt that lingers after abuse and after loss, Hospice is a painful record. Tales of mental illness, terminal cancer and emotional abuse enigmatically intersect while singer-songwriter Peter Silberman comes to terms with the fact that love does not conquer all. Musically, the shaky, dark electronica creates a distinctive soundscape perfect for the psychological decay and hospital setting of the album, while Silberman's high, clear voice unnervingly reveals dark secrets and deep fears. It's rare that an album comes along with the power to mend people, to change their lives permanently. Hospice is one of these albums, surely not for everyone, but for enough of us to be numbered among the greats.

Read more from the original RFR review...

How I found it: Pop Tarts Suck Toasted
Track picks: "Two," "Atrophy," "Wake"
Link: [MySpace]

Best Albums of 2009, Part 3: #20-16

PREVIOUS>>
Part 1 - Rules and Runners Up
Part 2 - #25-21


#20

Bad Blood Revival - Tongue Twisting Tunes for Tiny Tots
Dead Broke

Bad Blood Revival sounds a lot like the Jesus Lizard and a little like Slint, so you know they're good. True, they also aren't the most original band on earth, but they do what they do so well that, especially in this era of wussy, conservative anti-rock indie music, it's great to hear someone who isn't afraid to use a distortion pedal from time to time. The post-hardcore songs are clearly influenced by metal and noise rock, with weighty guitars, rage-filled drumming and shrieks. However, under all that great, awful sound, the songs are well-written, with outstanding riffs and a lot of variety. It's not pretty. But it's awesome.

How I found it: a couple of places
Track picks: "Kindling," "Bitter Pill/Aging Punk"
Link: [MySpace]


#19

Wu-Tang Clan - Chamber Music
E1 Entertainment/Universal

Sure, this got eclipsed by Raekwon, and after a while, this record does turn out to be a bit thin - but what it lacks in quantity it makes up for in quality. It's a nice comeback after the train wreck that was 8 Diagrams, proving the Wu-Tang still got it. The production is outstanding, using old soul music to give the rap depth and timelessness, while excellent MC'ing from most Wu-Tang members and some pretty great guests is the best we've heard on a Wu-Tang album since the 90's.

Read more from the original RFR review...

How I found it: Sheesh...I think I was first introduced to Wu-Tang Clan by the AllMusic Guide many lifetimes ago.
Track picks: "NYC Crack," "Evil Deeds"
Link: [MySpace]


#18

Lightning Bolt - Earthly Delights
Load

Of course, after all the complaining I've done regarding the wussiness of contemporary indie music, it would be remiss of me not to include this raw explosion of pure energy. Lightning Bolt features one very distorted bass and one drum kit, both played as fast and loud as possible. The whirlwind, however, is made of intense musicianship and nothing is random. It's like a bomb going off in your face. If that sounds awful, this album probably isn't for you. That's sad because it's fuckin awesome.

Read more from the original RFR review...

How I found it: been knowin'
Track picks: "Sound Guardians," "Funny Farm"
Link: [MySpace]


#17

Fuck Buttons - Tarot Sport
ATP

Experimental electronicians Fuck Buttons made one hell of an album. While they are still a long way from convention, Tarot Sport translates their noise/drone into something more easy to grasp. Deep, glitchy grooves dominate each track, while evocative layers drift in and out. The beats are dancy and the rest deeply emotional. Unfortunately, for the length of this album, Fuck Buttons are a one-trick pony and the excitement of track one will fade by the time you get to the end.

How I found it: "Jasper" mentioned it
Track picks: "Surf Solar, "Olympians"
Link: [MySpace]


#16

...and You Will Know Us by the Trail of Dead - Century of Self
Richter Scale

Trail of Dead putting out a great album isn't exactly headline news, because they've been doing that consistently for a while now. They haven't broken new ground in a major way with Century of Self, but their sound is still entirely their own. Equal parts prog, shoegaze and punk, Trail of Dead sounds simultaneously artistic, rich and youthful. Walls of guitar sound break into stunning harmonies but strong melodies and pure energy keep the songs from stalling. There's a lot going on, and I promise you'll still hear something new the hundredth time through.

How I found it: lots of places, obviously
Track picks: "Isis Unveiled," "The Far Pavilions," "Ascending"
Link: [MySpace]


NEXT>> Part 4: #15-11
Part 5: #10-6
Part 6: #5-1

Best Albums of 2009, Part 2: #25-21

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Part 1 - Rules and Runners Up

#25

Blank Dogs - Under and Under
In the Red

Most bands never succeed in carving out a sound that's entirely their own, but Mike Sniper's lo-fi goth doesn't sound like anything else out there. Deeply reverbed synthesizers and guitars take the best from the original goth movement, leaving the melodrama in 1980. What's left are intriguing, dark pop songs. The "lo-fi," effects-laden production buries distorted vocals, leaving everything hard to make out. The effect sends chills down my spine. It's the feeling of encroaching darkness and the sense that some profoundly disturbing secret is lurking in the shadows. If you've ever been in an abandoned hospital or a spooky forest or someplace similarly eerie at night, you know what it's like when you can't quite make out what's frightening or explain it to someone else, but you feel a tangible chill in your bones. That's what this album does to me.

Read more from the original RFR review...

How I found it: the internet!
Track picks: "Setting Fire to Your House," "No Compass," "Slowing Down"
Link: [MySpace]


#24

Cold Cave - Love Comes Close
Matador

Once again, I have to resort to quoting the press release because I can't paraphrase this and be as spot on: "equal parts romance and nihilism." Cold Cave's Matador debut draws from new wave synthpop, but just as much comes from krautrock, industrial and no wave music, making catchy music that's purposefully, powerfully vacant and inhuman. It's a statement of disillusionment and knowingly futile emotion. If Nietzsche had made an album of synth-based love songs, it would sound like this.

Read more from the original RFR review...

How I found it: They opened for Crystal Stilts and Love Is All last year.
Track picks: "Youth and Lust," "The Trees Grew Emotions and Died"
Link: [MySpace]


#23

Thee Oh Sees - Help
In the Red

I wasn't that smitten with Thee Oh Sees when I first saw them last summer, but when I put on their album for the first time, it immediately grabbed my attention. The band's fuzzy, lo-fi garage tunes manage a rare balance between strongly stated professionalism and youthful indie-ness. The songs are well-written pop tunes, but they take themselves seriously, with instrumentation and production that packs a real punch. These guys are fun, but they aren't just fooling around.

How I found it: bunch of ways
Track picks: "Enemy Destruct," "Peanut Butter Oven"
Link: [MySpace]


#22

Fever Ray - Fever Ray
Mute

Fever Ray, a.k.a. Karin Dreijer Andersson, the frontwoman of acclaimed electronic duo the Knife, released her solo debut this year. Dark, dense and wild, Fever Ray is an intensely primal album, both more earthy and more cryptic than the Knife's work. The music evokes dark images of untamed wilderness, ancient times and the occult, enigmatically hinting at the deep pain of some past trauma and an ensuing psychological deterioration. Andersson's powerful voice is one of the strangest and most evocative to emerge since Bjork's heyday, and here, it is fully unfettered.

How I found it: "Salvador" turned me on to it
Track picks: "If I Had a Heart," "Now's the Only Time I Know"
Link: [MySpace]


#21

Dälek - Gutter Tactics
Ipecac

Being the only group in the world (to my knowledge) that can be classified as "noise rap," Dälek never ceases to be exciting. Gutter Tactics may not be their best work to date, but it's still a remarkable accomplishment. Rap's usual rhymes and beats here meet screeching, jarring iceflows of pure noise. Drawing from shoegaze and ambient as well as industrial and krautrock, Dälek is one of those rare bands loud enough to slam you back against the wall the first time you hear them. The lyrics are smart and meaningful, but unfortunately, the MC's delivery can be a little bland. Still, Dälek is one of the most boldly original groups on earth - here's hoping they're a precursor of what's to come in the next decade of music!

How I found it: I first heard of Dälek when they did a split release with "no-gazers" IfWhen.
Track picks: "Gutter Tactics," "No Question"
Link: [MySpace]

NEXT>> Part 3: #20-16
Part 4: #15-11
Part 5: #10-6
Part 6: #5-1

Live: The For Carnation

When: 12/17
Where: Knitting Factory

Mountains openned the show last night. They play ambient, instrumental noise-folk with acoustic guitars and crap ton of electronics. At first, I enjoyed the rise and fall, the noisy dissonance and the sheer volume. However, with no melodies, no rhythms and no real surprises, I got pretty bored and left after ten minutes. [MySpace]

I came back just in time for The For Carnation, the band of ex-Slint/Squirrel Bait experimental rock genius Brian McMahan. Squirrel Bait's hardcore punk forshadowed Nirvana-style grunge back in the 80's. By the time Nirvana started changing in the indie scene, McMahan had moved on to the highly experimental, angular, sends-chill-down-your-spine music of Slint, helping spark (for better or worse) the post-rock movement.

After Slint, McMahan formed TFC and began creating much more subdued, gentle music. That may sound like a terrible direction, but it isn't always bad. When TFC is at its best, it has the same disturbing tension of Slint, but without ever providing release - the music just retreats further into its own sinister mystery. Unfortunately, TFC hasn't been that consistent - in fact, there's so much variation, I have to give you a song-by-song review.

Songs #1, 4 and 8 were TFC at its best. Minimal, desolate pieces with hints of jumpiness, these represent the logical sound of grown-up Slint. Song #7 was similar but got a little dreamer and sweeter in places. But still, something unsettling was lurking beneath the surface.

Song #2 was a bluesy number with an almost avant-garde guitar solo. Not my favorite.

Song #3 was folky and featured McMahan's lyrics sticking way out in front. They were about finding stuff in your house that reminds you of your long-gone wife. It would be banal even if it weren't cliche.

Song #5 sounded like Yo La Tengo being extra chilled out. Yawn.

Song #6, I've just forgotten.

The hit-and-miss set was made worse by McMahan's choice in bandmates. Certainly, with his reputation, he could put together a good band, right? But instead he's playing with these guys. The bass player seemed pretty solid and did a lot of strumming very well, which isn't easy to make sound good. Because of the style of music, I couldn't figure out the guitarist's skill level, but at least he didn't do anything offensive.

The real problems were the synth player and the drummer. The synth occasionally worked, but at other times, it stuck out like a sore thumb. It basically destroyed the last song (#8, which otherwise was great). Holding down the root in a hyper-oscillated, slow-attack setting just distracted from the music. Maybe if I didn't know about synthisizers, it wouldn't have bothered me so much, but I just kept imagining what was going through the keyboardist's (or songwriter's) head when he thought that'd be really cool. I love me a good slow attack, but because the sound itself was so stark, fading in on every note just drew attention away from the song itself.

And worst of all, the drummer! Brian McMahan, why are you playing with this guy? The dude is awful, seriously awful. Okay, I have a hang-up about playing cymbals with timpani mallets because it sounds like crap. You don't have to be a trained percussionist to listen to something and realize it sounds terrible. Even when he hit the cymbals with real drumsticks, they sounded bad. The toms also sounded like shit, and he abused his hi-hat in a way I haven't seen since high school (i.e. using it as a crash cymbal). I know I sound like a snob, but this isn't about following arbitrary rules, it's about making the instrument sound good.

His beats were also pretty lame, though not as bad as his tone. He wasn't the world's steadiest, but I only heard him screw up the beat badly once. As a time-keeper, he was perfectly adequate, but there were so many missed opportunities for better beats and fills. Sadly, his failings distracted me from the music and cost me a lot of enjoyment.

McMahan, on the other hand, is great. He's been in music long enough that he seems semi-comfortable singing, but still delivers a lot of his vocals in vaguely tuneful spoken monologues. I've never heard anyone pull this off but him, and he still does it, just like he did with Slint. His voice is simple and soft and his manner of speaking renders the songs even more uneasy. With Slint, he established himself as an enigmatic, haunted figure, and with TFC, when they're good, he's only buried himself deeper in his psychological darkness. He's still the real thing. [Fan MySpace]

[Note: I accidentally spelled Brian McMahan's last name "McMahon." It's been corrected now. Brian McMahon was a guitarist in the Electric Eels, also an amazing but obscure experimental musician from the heartland, but definitely a different dude.]

Upcoming Shows: Sonic Youth, the Pixies + more

[Upcoming Shows Playlist]
TONIGHT! Wednesday, November 18

Big Star @ Brooklyn Masonic Temple | Fort Greene, Brooklyn | SOLD OUT!
If you don't already have tickets to this, you're unlikely to find anything. It looks like upwards of 95% of the posts are craigslist are "tickets wanted." So I put this here mostly to cheer you (ok, myself) up - Big Star, though one of the greatest bands of all time, is really just 60-year-old Alex Chilton. Co-leader Chris Bell died over three decades ago and bassist Andy Hummel (who wrote a song or two, I think) is not involved. Jody Stephens is still on drums, but frankly, who has even noticed him back there? On the other hand, if you have tickets, AWESOME. One of the best bands of ever.

Papa M @ Knitting Factory | Williamsburg, Brooklyn | $12
Papa M is David Pajo, who probably has the most impressive resume of anyone from the late 80's/early 90's hardcore/post-hardcore/math-rock/post-rock/experimental scene (tied with former classmate David Grubbs). A member of Slint, Tortoise, the For Carnation and Dead Child (and less impressively, Zwan), Pajo has also played with Stereolab, the Yeah Yeah Yeahs, Will Oldham (Bonnie "Prince" Billy) and others. I don't think any of that means anything to non-indie-geeks, or even indie geeks who aren't pretty old school. But what it all adds up to is that Pajo is one of the most highly respected and influential guitarists of American indie rock's golden age. His style of playing is eerie, dark and distant, with unsettling rhythmic irregularities. It's experimental and sometimes very minimal, but an educated listener will pick up on the sound's faraway roots in hardcore punk. You know what, forget all that, it's just fucking weird, good music. Go see it. [MySpace]


Thursday, November 19

True Womanhood @ Cameo Gallery | Williamsburg, Brooklyn
True Womanhood sound eerie and rhythmically complex like Radiohead. The bass is slammin, the drums are fascinating and the guitar is off in outerspace making noises that could give you bad dreams. [MySpace]


Saturday, November 21

The Beets, She Keeps Bees @ Death By Audio | Williamsburg, Brooklyn
The Beets are a much-beloved garage back band. She Keeps Bees are a blues band disguised as an indie rock band. They both write good songs. You will like both of them. [Beats MySpace] [SKB MySpace]


Sunday, November 22

Talib Kweli @ Brooklyn Bowl | Williamsburg, Brooklyn | $10
Talib Kweli is one of the most universally respected rappers on the planet. His music is smart and thoughtful, but hardhitting. This show costs $10. What's the catch?? [MySpace]


Monday, November 23

The Pixies @ Hammerstein Ballroom | Midtown, Manhattan | $48
The Pixies are performing their classic album Doolittle a bunch of nights in a row. Personally, I wouldn't pay $50 for this, but I've already heard them play all of Doolittle live (except for, by lucky chance, the few songs on the album I don't like), plus at least half of Surfer Rosa and the best from Bossanova and Trompe Le Monde, all on one glorious night at the Pixies birthplace, the University of Massachusetts. What I'm trying to say is, this is a lot of money, Doolittle is a short album, and you'll have other chances to hear the band. However, this is about the experience of hearing Doolittle live, so if you happen to have an extra $50 lying around, it would be well enough spent on this. If not, don't cry, the Pixies don't seem to be ending their reunion any time soon. Oh, if you don't know who the Pixies are, they are one of the most important indie rock bands of the late 80's and early 90's and influenced the hell out of everyone, like Nirvana and Weezer. They basically play the kind of pop songs you'd expect a mental patient to write. Which is pretty much what they are. HOTT.


Tuesday, November 24

Sonic Youth @ Music Hall of Williamsburg | Williamsburg, Broklyn | SOLD OUT!
I'm pretty sure Dino Jr and Cold Cave were on this bill when I bought my ticket, and now it's just Talk Normal, who are weird hyper-experimental stuff that's good but no Dino Jr. Anyway, the point is that it's Sonic Youth, the band that brought art rock and noise to millions. One of the most improbable stories in rock history, Sonic Youth's odd, discordant guitar noise and abrasive, abstract vocals got them signed to a major label for two decades of their three-decade career. After returning to the indie world earlier this year, Sonic Youth are still going strong, still pushing boundaries and rocking out hard on stage, just with grayer hair. Thurston Moore still seems like a lanky, hyperactive kid. Yeahhhh.

The Pixies at Hammerstein Ballroom | Midtown, Manhattan | $48
Same deal. (No pun intended!)

[Upcoming Shows Playlist]
The long view...

November
25
Meat Puppets @ Bowery Ballroom
Screaming Females @ Bellhouse
The Pixies @ Hammerstein Ballroom
Sonic Youth @ Music Hall of Williamsburg
what a night!!!

27
Fuck Buttons + Growing @ Market Hotel


December
2
The Mountain Goats @ Bell House

3
Wye Oak @ Bell House

4
Radio Flyer Review presents Shellshag, Sisters, Big Troubles & the Sundelles @ Monster Island Basement!!!!!!

13
Blank Dogs + Silk Flowers @ Monster Island Basement

14
The Slits + Sisters @ Highline Ballroom

17
The For Carnation @ Knitting Factory

[Upcoming Shows Playlist]

Album: CFCF - Continent

Album: Continent
Paper Bag, 2009
Rating: ** (2/10)

The first time I heard CFCF must have been last spring when part of the Panesian Nights EP mysteriously showed up on my hard drive. I gave it a listen and though I wasn't blown away, I was reasonably impressed, especially by the club-inspired dark ambiance of "Crystal Mines." It was just an EP by an artist early in his career (one Michael Silver), and I figured by the time an LP came around, we might have something worth at least a short-term obsession.

Apparently, I was overly optimistic. Sometimes when I'm bored and often spaced out with a migraine, I pull out my keyboard, turn on some cheesy synth sound and plunk out little chord progressions and riffs with club-style rhythms. Although I have fun making dark, ominous chords bounce out in a head-bobbing rhythm, I've really never thought it was worth recording even to subject my friends and family to, let alone to put into an LP and foist on the world at large. Perhaps if I had, I'd have a small record deal and some lukewarm reviews on Pitchfork - it worked for Silver.

Yes, folks, what I'm saying is that I can write music this good in my sleep. And the kicker is, I'm really not a synth player at all. Yeah, ouch.

For one thing, I think I misunderstood the purpose of CFCF. While I thought it was experimental ambient in a dark way, this album is like electronic easy-listening, with synthesized saxophone, guitar and fucking pan pipe solos. Even when the music starts with something good - the guilty-pleasure pop of "Invitation to Love," the breaking beat and half-phrase synth lines of "Letters Home" and the sweeping dynamics of "Break-In" - he ruins it with the aforementioned fake saxophone and pan pipe shit or by just dragging it out waaaay too long. Vocals randomly pop up on a few tracks. In a pitchfork interview, Silvers said "I wouldn't consider myself a very strong songwriter or vocalist, so most of the time I try and then fail so I just don't bother." Yeah, we can tell.

The best track of the album is probably "Come Closer," one of those adorned with vocals. Though it wears on far too long, it's got more force to it. It's a much bolder, clearer statement than the rest of the album and comes closest to what I heard from Panesian Nights. Still, I can't even say that track is worth a buck to download. When surrounded by the far-less-than-half-baked monotony of the rest of the album, it's a nice break, sounding almost like a completed thought. But on its own, it doesn't have much to stand on either.

A celebration of self-indulgent rambling electronica, Continent is an album only a mother could love. Or so I hope.

[MySpace]

Album: Cold Cave - Love Comes Close

Album: Love Comes Close
Matador, 2009
Rating: ******** (8/10)

I'm not sure what to make of the Cold Cave debut album, to be (re)released on Matador this week. Though I normally scoff at press releases, the one accompanying this album actually put a finger on a quality of the music I couldn't quite describe myself: "equal parts of romance and nihilism." That's the essence of Cold Cave and what sets them apart from any other band around.

I first heard Cold Cave nearly a year ago, when I caught the tail end of a set they did opening for someone or other at Bowery Ballroom. I enjoyed them, especially because their sheer volume threatened to make my ears bleed, but I didn't think they were anything special. It wasn't until the spring, when I stumbled upon the track "Sex Ads," that I came around to thinking of Cold Cave as something outstanding.

"Sex Ads," which is not featured on Love Comes Close, is one of the noisiest tracks I've ever heard. It sounds like a synthesizer apocalypse and in its unforgiving attack, reminds me more of the no wave movement than of anything contemporary. The most obvious reference point is Suicide, for those who are familiar with the history of synth music, but ultimately, the splintering shards of static and roar of icy, inhuman noise burying a desperate and inaudible vocal melody - well, they aren't much like anyone else at all.

Sadly, no song on Love Comes Close is quite as as bold as "Sex Ads." The album contains a collection of nine rather more accessible tracks which, if not as striking, have a similar intrigue. The opener, "Cebe and Me," creeps forward at a morbidly measured pace, while synthesizers blink unnerving squalls of dissonance and a distorted voice mumbles an undecipherable speech. The tension breaks over the dark pop of the title track. The somber-yet-catchy baritone melody is reminiscent of bands like New Order and Depeche Mode, but stripped of all hints of 80's polish.

There aren't any bad tracks on the album, so picking highlights is a little tricky. "Heaven was Full" is a classic centerpiece, with a memorable title, a heavy, full sound and single-worthy tune. However, the real highlight of the middle stretch is "The Trees Grew Emotions and Died." The simple, rhythmic vocals and ascending synth riff seems too basic to be the album's best track, but it had me on my knees.

From the dance pop of "Life Magazine" to the would be 80's radio hit "Youth and Lust" and the krautrock-inspired "Laurels of Erotomania," the album is mysteriously refreshing. The sounds are dated and could come straight from the earliest digital synthesizers of the late 70's and early 80's. This is cheesy and gives the whole album a campy sound. Further "campiness" is added by the fact that the actual synth parts are, for the most part, incredibly simple and obvious. But that's not to say the band is just some sort of Duran Duran throwback - the level of noise and the indie rock-influenced imperfection are distinctly modern. Couple this with great songwriting, and you've got something very worth listening to.

Check it out! [MySpace]

CMJ Summary - Part 1

The first band I caught at CMJ was Washington DC's True Womanhood at Cameo on Tuesday. They are known for their dark post-punk ambiance, with eerie guitar and vocals over complex breakbeats. When we walked in, the band was already playing and the sheer volume at that moment took the music to a new level. I thought, "these guys are on fire."

Unfortunately, they weren't quite as on fire as I had thought - the sound was awesome in the house, but it seems like they were having some difficulty hearing one another on stage. The drummer stopped at one point because he couldn't hear the guitarist - which was an error, since everyone should ultimately adjust to the drums no matter what. The band was still clearly great, but they weren't playing very tightly. Bassist Melissa Beattie once again, held everything together, keeping the drums and guitar on the same page, taking the lead in stage presence and seeing every song through from start to finish.

TW are definitely worth hearing. Tuesday night was clearly a bit rough, and even with all the setbacks, they still sound more far more interesting than most of their peers. [MySpace]

I stuck around for Naked Hearts and reached a new level of dislike for the band. Now, I used to like Naked Hearts alright, but the beginning of the end was their EP last winter. I liked them live when I only heard a couple of songs at the beginning or end of their set, but as it turns out, trying to sit through from beginning to end is really not for me. All the songs sound the same. When Noah Wheeler sings, he's way offkey. Amy Cooper is better, but even at their best, the band proves nothing more than an excellent example of cliched mediocrity. It's generic indie rock for the generic fan. [MySpace]

On Wednesday, I headed over to Cake Shop to catch the Kanine Records showcase, catching first Depreciation Guild. The more I hear of this band, the more I've cooled off on them. They are a electro-shoegaze outfit, with dense waves of guitar sound over sharp electronic beats (coupled with live drums). Their walls of sound are some of the best you'll find these days, and the beats are interesting.

However, all of the songs sound the same. The melodies, sung by guitarist (and Pains of Being Pure at Heart drummer) Kurt Feldman, fail to hold any interest, and there's not enough variety in the instrumentation underneath to make up for it. It's great for a song or two, especially their best one or two songs. Unfortunately, the rest of their repertoire sounds like inferior versions of the same.

The band also suffered from the lack of their usual visuals. Depreciation Guild are one of the only bands around to effectively use projections to enhance their music - they generally project changing blocks of color behind the band, enhancing the already multicolored sound of their layered guitars. Without it, the band's shortcomings are further unmasked. Though they have some great talent and are doing some things very right, they've stretched their one trick far too thin. Time to break the mold or dissolve into obscurity. [MySpace]

Next up was Ringo Deathstarr, my perennial favorite among contemporary shoegazers. Like Depreciation Guild, their guitar sounds are inpenetrable, but unlike them, Ringo Deathstarr has melodies and songwriting to match. The baritone vocals ground the music in irresistible Britrock pop tunes, while the guitars growl underneath.

Near the end of the set, the band began pleading with the audience to dance, which was a misguided effort - their beats are good for a shoegaze band, but they're a shoegaze band. Singer Elliot Frazier threw himself into the crowd to generation some motion, which was certainly a noble effort and made the show that much more fun - but it's a scientifically proven fact that shoegazers don't dance. However, Dinowalrus drummer Josh Somethingorother took the opportunity to jump on stage and turn up all of the knobs on Frazier's pedal board, ending the song in a screaming mess of feedback and fuzz.

The band got cut short, which is par for the course at CMJ. They may have made a little to much of a stink about it, but they did a good job cramming what they could into the end of the set and narrowing down their setlist to the best of the best. I sure would like to see something happen for this band, but they don't have that aloof DIY cool that seems to be the golden ticket these days. Which is one of the reasons they're so great. [MySpace]

I skipped most of Zaza, who played next, because having seen them a few times, I've become bored with their droning.

However, I stuck around for Dinowalrus, one of my hometown favorites. The band plays drum-heavy noise that doesn't sound enough like anyone else to give me a single reference point to work with. From droning groves to descents into noisy chaos, the band is certainly unconventional.

This set (only three songs, I think?) didn't excite me as much as the last couple I saw. I've mentioned before the band's "lack of structure." Frontman Pete Feigenbaum pointed out that the band spends a lot of time on their arrangements, and so I should clarify what I mean by that point - I never meant that the band was oblvious to structure. In fact, it's clear that what Feigenbaum says is true, the band must arrange their songs with great care. It's just that the conventional elements of structure in rock music - songs, choruses, verses, solos, etc. - don't apply to Dinowalrus. If they did, it wouldn't be the band it is, but it does put them in a tricky position. There is a reason 99% of rock music uses certain structural elements, and if you're going to buck tradition, you've got to make the music work just as well without them. Dinowalrus falls a little short of this, leaving the audience a little lost sometimes as to exactly what ideas the band is trying to convey.

That said, they are still one of NYC's best. And while the first two songs seemed to ramble a bit without really drawing me in, the third was crowned with a sparkling guitar riff that stood out for its straightforward beauty in the dirty, mess of sound. The juxtaposition and the composition surrounding it was nothing less than brilliant.

The main appeal of Dinowalrus, in any case, remains Josh Whatshisname. After watching his CMJ set, I tried and tried to think of a single [rock] drummer who could show him up. But if I've ever encountered one, I've forgotten. I think it's safe to say Dinowalrus has the best rock drummer I have ever seen. It's not just the beats he plays, but the way he plays them, with absolutely natural, organic rhythm, the drums an extension of the man, the man an extension of rhythm in the abstract. He doesn't overplay, he's never flashy, he just plays the drums. Hell yes. [MySpace]

Album: A Sunny Day in Glasgow - Ashes Grammar

Album: Ashes Grammar
Mis Ojos Discos, 2009
Rating: ****** (6/10)

I’ve been sitting on this album for months now, listening from time to time and trying to figure out what to write. Finally, the release date (September 15) snuck right past me, and still nothing written.

Finally, I have to admit that it’s simply not a remarkable album. I’ve known of ASDIG long before I started this site, and was a major fan from the start. Their walls of electronic and guitar sounds are startling and make what feels like a physical impact (like running into a brick wall, yeah?). This coupled with an underdeveloped but clear pop sensibility made the band a quick favorite.

As such, I’ve been looking forward to this album since last fall (actually, you can read proof of that in my first RFR review ever, which was of ASDIG’s CMJ show) and when I got my hard copy and put it in my stereo this summer, I was prepared for a mind-blowing experience. Instead…nothing.

I didn’t and don’t hate this album by any stretch. It certainly has its good moments. But it’s not only fair but even necessary to judge an album based on its ambitions, and at twenty-two tracks, it’s clear this record aimed high. An album made as party music can be judged on being fun and catchy, but one like this must be evaluated for its artistic achievements, sonically and conceptually. And held to its own high standards, Ashes Grammar fails.

First of all, there is the lack of hooks and melodies to engage the listener. A few songs, starting with the unexpectedly bouncy "Failure" (already the fourth track) are head-nod-able, though you have dig through quite a bit of chaff to find them. And no matter how hard you search, you won’t find a riff in over an hour of music.

That’s not to say that melodies, riffs and hooks are the only way music can be good. Unfortunately, this album doesn’t really succeed on other fronts either. Although there is a vague sense of journey from track to track, the album doesn’t leave you far from where it started. On both the song and album levels, Ashes stagnates. A sense of composition is, quite simply, absent.

Given the CMJ set last fall and other murmurings, I was expecting an album with balls, something loud and edgy and aggressive. Instead, this sports more semi-choral vocals, gradual volume shifts and seemingly arbitrary synthesized tones. I don’t have much love of wussy music that isn’t pop, since I can’t find anything to hold on to. Songs like this album’s title track seem decidedly un-brave.

The album does occasionally shine. "Failure" is a welcome relief from monotony, and "Passionate Introverts" is the closest the album comes to meeting my expectations. Sadly, the few good tracks are diluted by the sheer track count on the album, and finding them buried in the snooze-fest hardly seems worth the effort.

[MySpace]

Live: Gowns, Pterodactyl at "The Maze"

When: 9/10
Where: The Maze @ Death By Audio

Death By Audio has recently filled its small two-room space with a wall-to-wall maze. If you're having trouble imagining how such an installation would work in a small music venue like this, there's a simple explanation - it doesn't work. It's a neat idea, and I haven't minded so far seeing shows there, but there's no bizarre trick you're failing to think of, the reality is simply that unless you find a spot good and early and hold your ground, you won't be able to see the bands.

The first band I found in the maze, after making my way to the back room, was Pterodactyl, down one member, tucked in an opening center of the passageways. I thought perhaps Ptero's two-man line-up was to accommodate the utter lack of space in maze's center, but rumor has it, guitarist Jesse Hodges missed the show at the last minute, due to an emergency, which probably explained why the remaining duo sounded underrehearsed.

The band wisely chose to build their music on anticipation rather than attempt watered-down versions of their usual outbursts. It wasn't nearly as satisfying as their normal set, especially only half a drum set (snares off, too, for no apparent reason) and barely an inch to move round. I was glad I'd seen the band before and knew their songs well enough to appreciate the adaptations - this certainly wouldn't have made so strong a first impression as the first time I did see them. But you've gotta give them some credit for pulling it out at all - once again, the band shows their capacity for doing a lot with a little. [MySpace]

The highlight of the night was Gowns, a West Coast band that only passes through down every year or so. I hadn't seen them before, but I'd heard good things from trusted sources, so I had high expectations. But apparently, not high enough. I was simply not prepared for a band so relentlessly creative, measured and intense.

Of those adjectives, intense is probably the most important. This band could rank just after Slint and Joy Division in a contest of most horrific portrayals of the inside of psychological deterioration. If Gowns' three members are not deeply disturbed individuals, then they may have missed out on lucrative acting careers - but I think their performance was indeed sincere, especially principal singer and guitarist Erika Anderson, who seems to pour the darkest corners of her psyche out into the mic in each song.

The lyrics, so far as I could catch them, seemed a little over-the-top in their melodrama, touching on cliches a little too often for comfort. In contrast, their music never approaches cliche and shows outstanding restraint. Anderson's singing is strong enough and she bold enough to let it loose with only the faintest instrumental backing, faint synth chords and guitar hum shifting towards increasing dissonance as the true psychological trauma of the songs unfolds. When the band does pick it up and rock hard, they rock hard well, with crunchy guitar, powerful drums and concise melodies.

Despite some disappointing lyrics, seeing a band this courageous, this willing to turn themselves inside-out on stage, and to eschew musical conventions in favor of new ideas - all this is a rare experience. The sonic minimalism leaves the band nothing to hide behind. The best art comes from admitting vulnerability, and in this regard, Gowns are far closer to an artistic ideal that most musicians will ever be. [MySpace]

Live: True Womanhood + French Miami, Terror Pigeon Dance Revolt

When: 8/28
Where: Death By Audio

I know this review is going to make me sound like a grumpy old man who got up on the wrong side of the bed last Friday. And you could argue that's entirely accurate. So be it.

When I came into Death By Audio, Terror Pigeon Dance Revolt was less than halfway through their set. This "band" was "playing" their "music" while dancing around in huge costumes in the audience. I'm not against music being fun or funny, but I think it should always have some artistic merit, something deeper, something personal, something meaningful. Instinctively, I feel the same way about shallow music that I imagine deeply religious people feel about cartoons mocking Jesus or Mohamed. Let me reiterate: there is plenty of fun, even funny music I like (I swear), but when the music is just a cheap vehicle for soulless cliches, I don't find myself feeling particularly amused.

Costumes are a cheap and obvious gimmick, no matter how elaborate. And though no doubt TPDR is eager to distract listeners from their build-yr-own-dance-tune songs (the musical equivalent of cookies you made in your Easy-Bake Oven), it's sad they couldn't find something a little more original to divert our attention. My Lame-O-Meter is officially broken.

Next up was French Miami and because of some various stuff, I was kind of in and out during their set. I know I had things to say about them, but I didn't write it down right away and I can't quite remember what my overall impression was. Their spazzy, punkish rock is very pop (maybe occasionally to a fault) but the band members have an impressive ability to occasionally play more than one instrument at once - usually guitar (tap on with the left hand) and keys (with the right hand). Some of the keyboard parts and melodies get a little annoying, but there are some hands-down beautiful guitar riffs and melodic hooks. It's not original, not at all, but it's spirited and well-done. [MySpace]

The real highlight of the night, of course, was DC's True Womanhood. Radiohead is the unmistakable reference point in describing this trio's sound. Thomas Redmond's wide-ranging, otherworldly vocals do sound like a carbon copy of Thom Yorke's. The comparison doesn't end there, however - the band's half-electro/half-live percussion features uncomfortably lurching breakbeats similar to Radiohead's post-OK Computer work. The combination of uneasy singing and frantic, unstable beats certainly puts the listener on edge - in a good way.

The meat of the band's sound comes from bass player Melissa Beattie. Since Redmond's guitar is often lost in experimental noise or drifting in a heavily-reverbed stratosphere, the bass carries the hooks, establishes the key and chords and drives the music forward rhythmically. True Womanhood sounds rich, but if it weren't for Beattie's exceptional playing, it would be unlistenably thin.


True Womanhood (photo from myspace.com)
Drummer Noam Elsner is responsible for much of the music's intrigue as well as its appeal. The jerky asymmetry of his aforementioned breakbeats sound dancey - but I dare you to try it. His unconventional kit included a junior-high-quality tympanum (aka kettle drum). At first, I thought that was a pretty stupid idea, given that it was a larger timp tuned down and played with wooden sticks - so it just sounded like a bad floor tom. However, after a while, I noticed Elsner placing a variety of cymbal/bell instruments on top of the drum and playing them. The drum gave them a deep resonance and while I'm not sure it's worth hauling around a 100 lb instrument, I've got to admit it's cool.

The band wants for some originality, but their songs are powerful and memorable and their stage presence intense and captivating. Look for big things from these guys. [MySpace]

Oh, I almost forgot my other mean old man rant. There were a bunch of emergency blankets (you know, those really shiny ones) around the venue, which I guess probably had something to do with TPDR's set. During True Womanhood, some people thought it was fun to play with them, which maybe it was except they made what seemed to me to be a really loud crinkling noise that really distracted from the music. Do what you want during sets, but try to keep it quiet, please. Some of us old folks are hard of hearing and can't make out the band so well anyway!!!

Upcoming Shows - This Week + September Preview

I really can't get it up for many of the shows this week, except the Breeders last night and tonight at Bowery. And that's very sold out, though I suppose it's worth a try.

Friday, August 21
Antlers @ Mercury Lounge | LES, Manhattan | SOLD OUT
This show is sold out, but if you can find a way to go, I'd recommend it. This is the album release party for Hospice, which is one of the definitive albums of the last decade. The band is pretty good live, too. It's amazing to see just three guys make all those sounds you hear on the recordings. [MySpace]

Saturday, August 22
Blank Dogs, Ex-Humans @ Don Pedro's | Bushwick, Brooklyn
Why Blank Dogs would play such a venue is anyone's guess. Don Pedro's doesn't exactly have a great reputation among Brooklyn bands. But that's not what's important. What's important is the gothy lo-fi of Blank Dogs is unparalleled and you should check it out. And yeah, I know I haven't had the most positive reaction to the live shows in the past, but 1) I hear there may be some significant changes afoot for Blank Dogs as a live act and 2) just because the shows aren't as good as the albums doesn't mean they aren't better than most other bands' shows around. [MySpace]


There are some shows coming up further down the line that are worth putting on your calendar and, if possible, getting tickets for before they sell out:

August 30
Lightning Bolt @ 979 Broadway | Bushwick, Brooklyn | $12
An afternoon show from one of the best guitar bands in, like, years. [MS]

September 1
Screaming Females @ Mercury Lounge | Manhattan | $10*
Another one of the best guitar bands in years. And they're up-and-coming fast, so check them out while you can still see them somewhere reasonably small. [MS]

September 9
Naked Raygun @ Music Hall of Williamsburg | Brooklyn | $15*/$18
One of the great bands of the American Underground, Naked Raygun ruled the hardcore/indie scene in Chicago. [MS]

September 13
Feelies @ Southpaw | Park Slope, Brooklyn | $25*
The Feelies defined the jangly "Hoboken Pop" of the 1980's, balancing pioneering noise with catchy melodies and uptempos. Twenty-five bucks is a lot, but at least it's a double set. [MS]

September 14
Autolux @ Bowery Ballroom | Manhattan | $15*
If you like shoegazy alt-rock walls of sound and massive songs, look no further. [MS] (Actually, do look further on this list, there's more for you...)

September 15
Autolux @ Music Hall of Williamsburg | Brooklyn | $15*
See above. [MS]
Zeros + Jemina Pearl @ Southpaw | Park Slope, Brooklyn | $15*
The Zeros are one of the classic late 70's LA punk bands, and one of the only presently touring with their original line-up intact. [MS]

September 19
..And You Will Know Us By The Trail of Dead + Secret Machines @ Music Hall of Williamsburg | Brooklyn | $20*
If you like shoegazy alt-rock walls of sound and massive songs, look no further. (This time I mean it.) [MS]

September 24
Wavves + Ganglians @ Santos Party House | Manhattan | $12*
Wavves make lo-fi, surfy, poppy, noisy, fiercely independent punk. They are one of the very, very best bands to emerge in 2008/2009. They are playing a Todd P show (venue TBA) the next day, though, if you prefer the DIY setting. [MS]

*Advance tickets available online

Album: The Antlers - Hospice

I originally published this review in February. Hospice is rereleased today on Frenchkiss Records.


Album: Hospice
self-released Frenchkiss, 2009
Rating: *********' (9.5/10)

When I first listened to the Antlers in late 2008, I shrugged it off as nothing special, but Pop Tarts Suck Toasted was carrying on about this album at such length that I decided to give it a listen. And I was completely taken aback by what I heard.

Hospice is not only an outstanding album, it's one of the most exciting releases since the 90's. I wavered on the rating - sometimes leaning towards 10/10 to help get it into the spotlight it deserves, other times thinking 9/10 would be more appropriate - it's far from perfect and far from the level of the masterpieces it references. In the end, I settled on 9.5 - the highest rating I've given an album to date and also the first time I have ever used a half point. The reason? This album is the most worthy of your attention of any I have ever reviewed (on this blog or elsewhere) - but I don't want to believe this is as good as it's going to get. I want to believe another Loveless or Aeroplane Over The Sea is in the works, and I'm saving the 10/10 for that. But in this meantime, we have this, and this is something.

But to say I enjoy or even like Hospice would be misleading. In fact, it is easily the most unsettling album I have heard in years and for several weeks, it consumed me, even triggering the return of nightmares I thought I had shaken long ago. It's an intensely haunting, profoundly affecting album that will stay with listeners long after the final notes.

On the surface, Hospice is a concept album that intertwines stories of terminal cancer, mental illness and dissolution of a relationship into dysfunction and cruelty. Where these tales intersect is the painful truth that love does not conquer all. The record documents songwriter Peter Silberman's growing awareness of this immutable fact, revealing not only feelings of heartbreak and helplessness, but also, and most importantly, a pervading guilt. The narrator's point of view is always that of a caretaker, seeking to heal, to comfort, to save, and the entire album reads as a confession of failure.

Sonically, Hospice is a creeping ambient lo-fi, as if Radiohead had recorded OK Computer in Thom Yorke's basement. At some moments it assaults the eardrums, while at others, it replicates the shaky hum of life-support machines. But mostly, it is full of subtle sounds breaking up, faltering and struggling under the weight of the album's pain. It is this, the struggle of each sound, that sets Hospice apart from such reference points as OK Computer and Arcade Fire's Funeral. Hospice's best beats are built with shards of static and noise and mixed with such restraint that many listeners may not even notice a drum track at all. Synthesized sounds are prominent, but they never seem like a cheap trick - instead, they mimic the oppressive sterility of the album's hospital setting. The use of horns may be an overblown nod to Neutral Milk Hotel but it's restrained enough to forgive and the other sounds - the weakly bowed banjo, thudding piano chords and shivering guitars - are more inspired. All are masterfully executed.

Over the uneasy ambiance, Silberman's voice carries the album. His high crooning is clear and controlled, but although his tunes and tone are spot-on, there's something unsteady about his delivery - it's the wavering of a young voice delivering painful and personal words. And there is good variety alongside the consistency in his voice, ranging from the surprising dramatics on "Sylvia" to the intimate, homey delivery of "Shiva."

The songwriting on the album is imperfect - the often-understated melodies and the album's tempo make it hard to tie everything nicely together. I think this explains why I didn't get drawn in by Hospice's two singles ("Two" and "Bear") when they were released. But viewing the album as a whole, it becomes much more coherent. Melodies are recycled as Silberman revisits stories and ideas, and viewed in this context, most of the tracks do become memorable, each a unique step in the album's journey.

The only really bad song on the whole album is "Thirteen." The first half is an experiment in loud ambiance that doesn't seem to move the album forward. The second is a short song sung by Silberman and guest vocalist Sharon van Etten. Van Etten is a beautiful singer but the sudden introduction of female vocals is jarring, and the addition of a woman's voice to sing a song subtitled "Sylvia Speaks" takes the album's concept to a level of literalism that is, frankly, goofy.

However, this track is the only outstanding mistake. Hospice's two singles and the album track "Sylvia" are all high points, with engaging rhythms and melodies, identifiable choruses and foot-tappable tempos. And even these are outdone by less structured and more intense tracks like "Atrophy" and "Wake." Rising in and out of murky noise, these songs contain many of Silberman's most uncomfortable revelations.

"Wake" comes second-to-last and marks the climax of the story. It is the album's only true moment of absolution: "Some patients can't be saved / But that burden's not on you / Don't ever let anyone tell you you deserve this." Whenever I listen, it takes a few repetitions for the last line to really sink in, and when it does, it usually brings me to (or past) the brink of tears. Anyone who needs to hear these words needs to hear them over and over again before they can begin to believe it. And when I say "needs," I mean that - for the listeners with whom Hospice resonates (and I know I won't be the only one), this moment, this final refrain, is necessary.

But then again, it's not the final refrain. There is one more track, an understated nightmare that draws narrator and listener alike back into the album's underlying terror. It's not that nothing has been accomplished, it's just that healing is a process without an end. Hospice is mercilessly honest - scars will remain, wounds will reopen and everything will not be alright. Though the emotional strides of Hospice are immense, Silberman seems to realize they are dwarfed by the enormity of the task at hand.

A work of remarkable maturity and profound vision, Hospice doesn't sound like the product of musicians barely in their 20's. Perhaps it's the youth of the members, however, that gives the music its kick - a subtle kick, surely, but enough to hold my famously short attention. It's an imperfect work, of course, but it's still a rare and exciting accomplishment. It's musicians like these who will lead us out of indie rock's dead ends and on a personal level, who will help us mend from life's damages and carry on.

[Antlers on MySpace]