Album: Grooms - Prom

Album: Prom
Kanine Records
Release Date: July 12, 2011
Rating: ******** (8/10)

To cut to the chase, Grooms' sophomore full-length is startlingly great. The album oozes the professionalism and confidence of a band that - finally - knows exactly what they're trying to do. It is refreshingly original and strikingly mature.

Grooms still often evoke Sonic Youth in their odd dissonance, the guitar (and vocals) often transcending key signatures to create mysteriously, deliciously warped harmonies and scales. Still, compared to their first album, Prom owes relatively little to Sonic Youth or anyone else for that matter. It's not hard to name reference points (Sonic Youth, Radiohead, Microphones, My Bloody Valentine, the Notwist), but Prom could only have been made by Grooms.

The album announces its identity immediately - "Tiger Trees" opens with a foreboding military march, traced out not by the thud of drums but rather by shards of static, then explodes into a wash of noise. It's that rare sort of noise that doesn't depend on volume as its primary ingredient, the kind you can find in albums by Eric's Trip and the Microphones and very few others. It's a sort of quiet roar that evokes mountains and oceans. It doesn't sound murky but it's nearly impossible to figure out exactly what is going on.

That sort of masterful engineering is coupled with noticeably electrodance leaning elements such as the relentlessly elliptical acid house bass on the title track, the sputtering drums of "Imagining the Bodies" and the industrial beat in parts of "Into the Arms." These elements recall Radiohead, with their deep, post-dub, asymmetrical b-lines, but they are always balanced with organic elements. Likewise, when the guitar drifts off into space on the slow "Expression Of," the bass is at its most earthy.

The album is impressively consistent - none of the tracks feel like filler, either in that they are underdeveloped or in that they don't fit with the record overall. The explosive, melting-out-of-key "Aisha" balances the gentle, sad ambient-folk of "Psychics." In "Sharing," Grooms take a cue from My Bloody Valentine circa 1988 with bassist Emily Ambruso's only lead vocal, a sticky-sweet indie pop song swimming in blurry, underwater noise.

My only major complaint about the album is that the vocals are too far forward in many songs. Some of the middle tracks ("Imagining the Bodies," "Skating With Girl") are about right, but many songs, including the first two (otherwise, the album's strongest), simply seem to have vocals pasted over the top. While everything is a whirl of sound, Travis Johnson's vocals are bizarrely exposed - which might work if they were better but realistically, vocals are not the band's strongest suit. They aren't bad, by any means, but the melodies are a little underdeveloped and Johnson's voice just a little thin in contrast with the rich tapestry of the instrumentals.

Still, for an album as bold and original as this, you gotta hand it to these guys. Prom is a keeper.

Album: Woods - At Echo Lake

Album: At Echo Lake
Woodsist, 2010
Rating: ******** (8/10)

OK, I admit, I'm one of those fickle critics (or wannabe critics) who build a band up and then suddenly turn on them and tear them to shreds. I would fit in well in the UK, where they love to generate insane amounts of hype and declare a band the best thing since the Beatles, then in a fit of sobriety or shame or vengefulness, turn the band into the butt of a national joke. You can't with them, or me.

So last year around this time, Woods were one of my favorite bands. But it's been a long year and my thoughts on music have really evolved since then. I wouldn't take back my reviews of Woods or revoke the nine(!) stars I gave their last album, but I am certainly far less excited about anything related to folk music than I was at the beginning of 2009. The ultraconservative attitudes that have hijacked indie rock have grown increasingly obvious in the last year and I've come to see any music that doesn't challenge the backwards backlash as a dangerous and cowardly abuse of the art form.

On the other hand, I can't ignore or deny that Woods write beautiful music. And I wouldn't even argue that they are derivative. They have forged a unique sound that, yes, pulls audibly from Neil Young and the Grateful Dead but spins it as something distinctly post-2000. Drenched in LSD, their warbly, poppy folk and shimmering, folky pop conveys an intangible sense of mystery, like the band is playing from very far away.

At Echo Lake is pretty much like every other Woods album. Of the four, this has the most consistent quality of songs - and keeps them all well under the five minute mark. The arrangements are the richest and most complex the band has offered to date, showing a growing musical sophistication.

The real skill that has always set Woods apart is their ability to write beautiful melodies and Echo Lake shows they haven't yet exhausted the well. Centerpiece "Time Fading Lines" is a particularly notable melancholy masterpiece. Early on in the album, "Suffering Season" shows Woods exploring new layers of sound while earthy, simple songs like "Get Back" keep the record down to earth. And despite a more major-key opening than previous Woods albums, that same darkness lurks just behind the music.

Woods remain one among the finest songwriters on the indie scene today and their sonic experiments are distinctly their own. After seeing Sleigh Bells tonight, a folk-tinged lo-fi psychedelic band seems pretty insignificant in the progression of pop music, but this is pure beauty, at once saccharine and haunting, in sonic form, and that's worth a listen or ten.

[myspace]

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.]

Album: Wye Oak - The Knot

Album: The Knot
Merge, 2009 (out TODAY!)
Rating: ****** (6/10)

It was less than a year ago that I (and many people) first heard Wye Oak, a noise-folk duo from Baltimore whose self-released 2007 album's 2008 re-release on Merge made my "Best of 2008" list. I only heard of them in conjunction with all the hullabaloo they generated at CMJ last year, a well-deserved but short-lived buzz.

This album may follow fairly closely on the heels of If Children, but it's got two years' worth of new material. That time didn't bring a significant departure from the band's earlier work, but it definitely shows more signs of artistic maturity. However, despite being more sophisticated, the album is ultimately a disappointment. Perhaps it wouldn't be if everything we already knew about Wye Oak hadn't let us know they have far more potential than what they've tapped here.

The album starts with a surprisingly bold and promising move, the almost dirge-like "Milk and Honey." It's a ballsy choice as an opening track, indicating a band confident in their identity and their vision. While If Children, like most releases by any band, eases you in to the music, The Knot tosses you in the deep end and you can either turn off your stereo or learn to swim.

Unfortunately, this only makes the shortcomings of the rest of the album worse. It's clear that there is some larger vision for the record, but the execution simply doesn't stand up to that. There are a few really amazing songs, starting with "For Prayer." But there are quite a few duds as well - both "Take It In" and "Tattoo" use scales to form a large part of their irritating, redundant melodies and neither manage to generate momentum.

The rest of the album is a similar jumble of bright ideas and disappointing decisions. "Talking About Money" has a slick beat. "Mary Is Mary" has an especially beautiful and subtle melody, one of the band's finest, and while it's undoubtedly one of the album's high points, the dramatic arrangement ultimately cheapens what could have been more profoundly effecting with more subtlety. "Siamese" has intriguing production and arrangement but subpar songwriting, while "I Want For Nothing" and "Sight, Flight" have adequate melodies but sonically, boast few memorable moments.

Though more mature than If Children, The Knot left me wanting much more. Wye Oak are phenomenally talented, and I wouldn't be surprised if, a little further down the road, we'll see something monumental from them. But the problem with knowing how much they are capable of is knowing how far short they've fallen. And with this album, that's pretty far.

Album: Woods - Songs of Shame

Album: Songs of Shame
Woodsist, 2009
Rating: ******** (8/10)

This is my second post about Woods in a week, but for good reason. Their newest album, Songs of Shame will be released by their own label, Woodsist, next week.

Woods are a psychedelic folk-pop band that sounds like the ghosts of the Byrds - similar earthy pop delivered in a high register, but overshadowed by a haunted, otherworldly sorrow. Their lo-fi aesthetic doesn't use blanket static - there's not much distortion at all, except on an occasional lead guitar. Instead, they are lo-fi in a way that sounds distant (like the songs of a distant future's distant past) and secretive (there's a hint of something behind the music that you know you'll never understand).

Songs of Shame certainly shows the band's evolution since their last LP, 2007's At Rear House. Most importantly, they've branched out melodically. On Rear House, numerous songs follow the same melodic contour laid out in its first track, while on Songs of Shame, the songs are far less formulaic. This also means many of the melodies are more subtle and less immediately memorable than the songs on Rear House, but if they draw you in more slowly, they also draw you in more deeply.

The album opens with "To Clean," one of my favorite Woods tracks ever, followed by the excellent "The Hold," which contrasts a typically beautiful Woods melody over a very odd rhythm on tuned drums. Track three, "The Number," is also a Woods classic to-be, and again, features a masterfully composed tune. Later on the record, "Military Madness" (a Crosby, Stills and Nash cover) and "Rain On" are the most captivating songs. The cover is brilliant, mostly because Woods's unique sound guarantees they will reinvent any song they play, even from another band who mixed psychedelic, pop and folk influences.

There are even more indulgent experimental forays here than on Rear House, most notably the nearly ten minute long instrumental centerpiece. The song is much too long and repetitive for someone of my attention span, but it definitely has its moments of beauty. Still, it doesn't do anything unexpected, just trances out, swells up and then dies down. It's not bad, but it's not much of a contribution to the indie canon.

If this is your first time listening to Woods, I'd recommend checking out In Rear House first (also available from Woodsist). It's more accessible and a better introduction to the band. But you might as well get both at once, since once you check out Rear House, you're going to want more. And this, the artistically stronger album, is bound to captivate anyone familiar with the mysterious charm of Woods.

Woods on MySpace

Live: Tyvek, Woods, Nymphets

When: 4/1
Where: Death By Audio

When I walked into Death By Audio last Wednesday, the Nymphets were already on stage - just a girl on drums and a guy on guitar, both yelling their heads off. Their songs were short and their lyrics simple and to the point (for example, the repeated line "I don't wanna live on Earth anymore"). They aren't the first band of their kind, but they seem to have a genuine grasp on punk minimalism, and how that means everyone can have a lot of fun and make noise. Thumbs up. [MySpace]

Apparently, there was another band after them called Changing Holes, and I must have been there when they played, but I have no memory of it whatsoever. Which doesn't speak well to them.

Third in line was Woods, my latest obsession. They play simple, lo-fi pop, but not in the distortion-and-feedback sense of lo-fi. Their clean guitars and vocals aren't buried under anything heavy, but rather (as I said before) it's as if they are under water - the songs are distorted not in a fuzzbox way, but in the way water distorts the appearance of things beneath it. There is an element of mysterious, otherworldly beauty in the sound.

Though often described as “folk,” Woods are best classified as pop, with uptempo songs and sticky-sweet melodies. They sound a lot like the Byrds, or even the Hollies, but turned inside out and cooked into some Jell-O.

As performers, the band was pretty average, kicking out some hot guitar solos and some satisfying noise but not really doing anything out of the ordinary. Unfortunately, the most interesting part of the performance took place out of sight of most of the audience, myself included. The band's fourth member was crouching on the floor with what appeared to be a vocoder (or talk box or something of that nature) and a bunch of electronics.

Whatever he was doing, it helps explain the eerie, unidentifiable quality of the recorded music. (In case you don't know, vocoders and talk boxes use the voice and the movement of the mouth respectively to shape sounds, emitting ‘half human, half machine’ sort of tones.) Whatever this device was, he had it strapped over his mouth, a disturbing gesture. In the audience, all you know is there's somebody kneeling on the stage with something reminiscent of a gas mask or an old medical device obscuring half his face. Gimmicky? Maybe, but it's also effectively intriguing, not to mention creepy as hell.

While having melodies that will be stuck in your head for weeks, prettied up even further with subtle vocal harmonies, Woods sound weird in a way I can't quite identify. It's not just the quirky falsetto of the vocals (a trick used by plenty more conventional bands like Dirty On Purpose), there's just something different about this band. Something too subtle to be revolutionary, but distinctive enough to make this one of the most outstanding and original bands of our time. [MySpace]

Closing out the night came the much-hyped Tyvek, a Michigan-based punk outfit that kicks quite a lot of ass. The band stays true to the fundamental American punk tenant of playing loud and playing fast. There's some quirk in their music, but it's not that the music has been overthought, it's just that these kids have as much rage as the Sex Pistols, but they aren't leather-sporting punks from the London slums, they're awkward Midwesterners.

When I say rage, though, I don't mean it's sheer hardcore-thrashy-screaming anger - Tyvek is FUN. The new(ish) bassist Shelley Salant is a particularly interesting presence on stage - she looks detached, which just makes it all the more striking when she shreds her lungs yelling back-up vocals. Drummer Matt Ziolkowski plays standing up like Mo Tucker, only when he does it, he pogos like a maniac. And frontman Kevin Boyer, despite his bookish looks, rips the show to shreds and lights it on fire with his aggressive performance.

The music is solid. Like the first act of the night, it's nothing completely new, but Tyvek definitely knows the wild recipe of anger and fun that makes good punk good (similar to the combination of anger and fun of yelling "fuck you" at your high school principal the day after graduation). Their music is certainly not minimalist - it even includes keyboards, but it's still raw and has a very sharp edge. [MySpace]