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Mumford and Sons - "Babel"

9/17/2012

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NEW MUSIC TUESDAY!!!

Spotify Listen Link: Mumford & Sons – Babel

2013 Grammys:
  • WIN: Album of the Year
  • Nomination: Best Rock Performance for "I Will Wait"
  • Nomination: Best Rock Song for "I Will Wait"
  • Nomination: Best Americana Album
  • Nomination: Producer of the Year, Non-Classical - Markus Dravs

I think it's safe to say that this was one of the most anticipated sophomore albums in recent years. I know I was excited, and clear the industry knew what we were getting - I'm just excited to finally have an hour to hear it all!


"Babel," the title track, kicks things off in a very expected way - entertaining, hard-hitting strings, with slow emotional and thoughtful moments tucked within. Though I have to say, there's something much more emotional and tense in this voice as it goes this time around.





This lightly sways in to "Whispers In the Dark." Almost like a ghost sound in the background instrumentals for this one. I'm trying to be careful to not assume this sound is just as the previous album, though this band for sure has a very distinct sound. "I lost my head but found my heart." Beautifully classic sentiment.

"I Will Wait" -
ah, yes, the single. It's been a great driving song when I manage to stumble upon it on a dark night on the road. The rhythm, naturally, provides the best elements of that. The quiet sentiments in the main chorus are gorgeous, but in sound and in sweet talk. As it builds, I… I don't know how to describe. Ever had your heart fill with love and desire to scream for all the ridiculous reasons music may make it do that? 

I need to see this band live. And I maybe need to do that at Red Rocks.
And then we slow things down with "Holland Road." Again, not to compare, but remember the slower moments on the first album? Like there was always some intensity underneath of them? That's what's happening here, but with better production and a stronger instrumental base to the whole thing. I think the lyrics are what are taking the cake on this particular album. You're forced to listen, which is incredible in today's music. I'll hand it to the instrumental arrangement on this one - it does actually provide some difference.
"Ghosts That We Knew" is just sort of ironic considering who I just texted 'Happy Birthday' to (I'll take this moment to remind you this is still a blog and I still get to write what I want). The song's so beautiful and just heartbreaking enough, in both a good and bad way, that I am dropping everything, including my head to the desk, to pay attention and breath my way through. This would be able the point in time my friend Dave would've yelled at me for being too cryptic with my posts on the Internet.

Here's a performance from Letterman of the quiet song:






Something very pop is happening with "Lover of the Light," and it's leaving me feeling conflicted. This is still M&S, but just so polished and pretty through the speakers that I have a hard time being okay with how much I like it. Damn musical inner conflicts! Also, who gets away with using 'sanguine' in a song lyric??




"Lovers' Eyes"
comes in quietly, just sneaking into our senses. Honestly, while I normally try to type my thoughts as a song goes, this was one I really just kicked back and enjoyed. There's every bit of M&S element you could want in one of their tracks strewn throughout this one. It's just a great job done by them overall.

We go from two five minute plus songs to a two minute quiet one called "Reminder." Not much to say here, just that it was kept incredibly simple and nice.



"Hopeless Wanderer"
reminds me that this is a band that actually is growing in their sound over time. I love the dynamics used, moving up and down as needed with the points being made. Oh, and the instrumentation? I swear, second-to-none with this band. They know how to keep it moving so well and pull people in like a good film with how they move along those strings. Your heart beats with the rhythm of the songs.

In a somewhat more wonderous way, we get "Broken Crown." Forgive me if I'm wrong, but there seems to be come influence of their work in India on this one, which brings a whole different feel to the music. The sting work on this is varied from the other songs in that I think there are more exotic elements being used in conventional folk ways like never before. The breakdown later in the song, before the horns come in with all of their power, is so damn emotional you can get chills from hearing it just once (I certainly did). When you come down from it to the quiet, a cappella words of the end, your heart is just trying to catch up to what you just heard, and get stead again after ripping apart and being thrown up and down. Needless to say, this is an effective song.
"Below My Feet" kind of gives you a moment to breathe again; to regain composure. There's a quiet humbleness in this song that builds in confidence. This is a hidden one I think should go on graduation CDs and noted as a good life song. The whole thing's about remembering who you are in the world and what you are here for. There are mottos built in and they're brilliant! And have we mentioned the harmonies on this enough yet? No, I believe we need to note them again, because in the highest tension points of this song, the harmonies carry the intensity just as much as the drumming does. Incredible.
Oh, hi JGL.

"Not With Haste" is the final song in this collection, and something about it just makes it a good ending song. There's a finality in the chords used, and the mood is so confidently over. It's everything, of course, you could want in a M&S song, without changing too much at all for the sake of a new album's close.


Added to My Playlist:
  • "Whispers In The Dark"
  • "I Will Wait"
  • "Holland Road"
  • "Ghosts That We Knew"
  • "Lover of the Light"
  • "Lovers' Eyes"
  • "Hopeless Wanderer"
  • "Broken Crown"
  • "Below My Feet"


And so another wonderful M&S album is done and over with. Man, these guys get better and better and I can't believe it. To the friend that will never read this that got me in to this band: as always, thank you.

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Gotye - "Making Mirrors"

7/9/2012

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Spotify Listen Link: Gotye – Making Mirrors


  • By Request!


2013 Grammy Nominations:
  • Record of the Year for "Somebody That I Used To Know" (feat. Kimbra)
  • Best Pop/Duo Group Performance for "Somebody That I Used To Know" (feat. Kimbra)
  • Best Alternative Music Album


This came in originally as a request by one of my best friends, Jess. We listened to a lot of the album last year while looking at bridesmaid dresses at her place for about two hours. Update to that: I have one, and it's a different color and length completely than original discussions entailed. =)

Wally de Backer is from Australia and… wait, yes - that is in fact his name. I KNOW. He got into what Jason Ankeny calls "cut-and-paste electronic music" after his band, Downstairs, resolved. He's had a few albums under his belt, but obviously the song "Somebody That I Used To Know" is what really launched the world's obsession.

There's a lot of art involved throughout these videos, and plenty of music to hear, so let's get right into this thing and learn more than one song.


"Making Mirrors" opens up the album in such a timid way for the first minute that I am almost sure I'm listening to the wrong album. Nonetheless, here we go with a smokey soft sound.

He picks up the pace though with "Easy Way Out." While the voice is one like Beck's (man it's hard for me to be okay with that), the music has a Cee Lo funk sound I wasn't expected, and harmonies in the chorus like the Beatles. Basically, I'm pretty much into what's happening, even if I have to strain to hear any of the verse lyrics.


"Somebody That I Used To Know" comes in with just a little more force than I remember it ever having, especially coming off the funk beats of that fist song. It's been long enough since I've heard it for the millionth time on the radio that I remember why I enjoy the bitter kiss of this song. I also have only heard the Glee version in recent months, so this is refreshing. It really is a fascinating, creative, and wonderfully biting song. I bet everyone's got someone for this to be spitted out at.
Weird, I feel like the songs on here are mega-short. They're not, but they move so well (so far) that nothing drags. "Eyes Wide Open" has a fantastic running beat to it, and finally I am loving the vocals through and through. If this is electronic, please let Skrillex catch on. 
"Smoke And Mirrors" is sounding more and more like Darren Criss as the song goes on, for some reason. Maybe I just have that beautiful man's voice stuck in head. The music is steady and just a little on the side of triply with this little carnival aspect to the keys. There are lyrics about putting on a show, so, yay connection. The song's a bit more on the intense side, both lyrically and musically.

WHOA wait, when did Gotye discover a voice and rhythm? "I Feel Better" is possibly the best thing I've heard so far in this session just due to how much fun and rock steady it is. The song's a pick-me-up for just about any down time I can think of, and completely necessary for that 'dance-around-the-room' soundtrack.

"In Your Light" seriously starts off like a good ol' church revival song, until that keyboard comes in with all its glistening goodness. Basically, think Coldplay, sans the vocals, at least for this first bit. Oh shit son, there's horns too? Please, don't let vocals come into this one - it's… oh, there they are. And they're… good! This is the most ridiculously happy sounding song done almost entirely with a computer I have ever heard. So much fun!

In a slight slow down, though just enough for a rockin' little sway reggae beat, we get "State Of The Art." Annddd I liked it till effect on the voice (namely dropping it way down low - and not in a sexy way) comes in and kills the vibe for me. I understand experimenting, and even understand other folks really enjoying this, but sorry - just not for me. So much so not for me that I won't even waste my time trying to fill up my paragraph space with justifications.

"Don't Worry, We'll Be Watching You." The way I see it, this could go one of two ways: (1) a comforting song of someone there for someone else, essentially watching their back, or (2) an incredibly creeptastic song from a stalker. Now, as the voice is very soft and there's a fair amount of echo, I can't totally figure out which direction was taken. I think it's the first, though the tone is just off enough to be borderline on the second.
Next up, now that I've finished another bit of work I didn't want to break for, is "Giving Me A Chance." It's on a more mellow wavelength with just a little play electronically with some strings. Overall, sort of just an interesting sound. I'm pretty sure that lyrically I'd love this, or at least over-relate, if I could grasp it more intensely. The cute play over the air is nice, and the only flaw I can really grasp on to is a very high-pitched, ear-piercing sound like a car breaking. Okay, that sort of bores right through the brain, and makes the song slightly unbearable… damn it, the little things are usually what makes it all worth it, not ruins it all.
Didn't type during "Save Me" but simply loved it. It's like a song from the wild, reigned into a computer and played just so well. Had my foot tapping enjoying it even without the concentration factor. Very nice.
"Bronte" is the final song. It's okay. Sort of a weak ending, but sort of works because it's more solemn and a good close-out for the night. Overall, pretty appropriate and comforting I suppose. Not something I'd necessarily want to hear randomly, but with the collection I guess it all sort of winds up working.
Added to My Playlist:
  • "Somebody That I Used To Know"
  • "Eyes Wide Open"
  • "I Feel Better"
  • "In Your Light"
  • "Save Me"


I discussed this with two friends today, including Jess, before I finalized the review. We're all in agreement - the songs are completely and totally different from each other, and are each other completely hits or completely misses. This is sort of an awful way to lay out a full album, but when it works, it works well, and I'd say here it's like a well-oiled machine.

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NO - "Don't Worry, You'll Be Here Forever"

7/6/2012

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Sean, Bradley, Michael, Reese, Ryan, and Simon make up the band NO - from Los Angeles. While I'm not seeing a ton of background info to dig in to, I have to admit that these fellas seem to have something about their act together. They at the very least have contacts for a manager, press agent, and booking agent. Hey, I can respect a good backing team.


"Another Life" kicks things off for us with this anticipatory rock tone but just ever so lightly. The vocals are deep and meaningful, with words unexpectedly verbose. The chorus brings on harmonies (this Muse with less echo) and everything musically drops right back down afterwords. I keep waiting for this to pick up and be a huge powerful rock song, but things stay just so, almost like an intense heart beat getting into and letting go in the building. This feels like a concert - and that's a great thing.

The next one has a lighter timbre, with almost what sounds like a different set of vocals. But that's just how it is sometimes. "Theres A Glow" (according to Spotify there's a lack of apostrophe there…) has a scratchier feel to it, with more layer to the vocals. It honestly songs more like the instruments are rubbing against the speakers instead of playing naturally on their own turf. It's really a strange sensation to hear.

"The Long Haul" is a little more intense. That deeper voice is back and it's almost haunting against this slow, methodical music it's laid over. There's some elements of love there in the lyrics, but overall this song just leaves me with this creepy lingering feel that I would really appreciate being able to shake before I go to bed this evening.

And then we're back to sort of happy-go-lucky again! "Big Waves" is a pretty sweet little rock song. The vocals to the bridge are somewhat overpowering, and the morse code underneath is giving me a little bit of a headache. But overall, the song's got a much more pleasant tone than the last few, so who am I to really complain? Things are moving along really nicely in this one, so we'll just let them keep moving. It might be too loud at a show and too much to take, but for now, it's a got a glimmer of California rock and good times.

"Coming Down" brings in this whole electronic element that was completely unexpected. Things just don't sound like they naturally come out of an instrument here - everything sounds like it's out of a computer. I suppose it's okay, I'm just struggling to figure out this band. The vocal sound is the same, so there's some connection.

Okay, so is it me or do you hear playground sounds during "Stay With Me"? It's just back there somehow. The rest is simply strums and vocals keeping it going. The sounds eventually fade out… wait, maybe they're just the sound of nails going up or down a steel guitar string. Regardless, the song pulses on, doing that same sort of slight building without every really popping into a huge rock song. And the weird thing for me here is that it really does feel like an ending song - the placement on the EP is positively perfect.


Added To My Playlist:
  • "Another Life"
  • "Stay With Me"

So that went far quicker than I expected going in. I know, I know, it's an EP and they generally go fast. But that just flowed so well and right along. The music was up and down emotionally, which worked given the tone of this band. Definitely a unique situation happening here, and that could really work to their advantage.


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Florence + the Machine - "Ceremonials"

6/11/2012

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Spotify Listen Link: Florence + The Machine – Ceremonials

2013 Grammys:
  • Nominations:
    • Best Pop Duo/Grup Performance, "Shake It Out"
    • Best Pop Vocal Album

Florence captured my heart with "Dog Days Are Over" and "Shake It Out," both equally uplifting songs when the crap in your life threatens to overtake your heart. So, when "Ceremonials" came out, I was excited to hear what was next. I remember listening through this album on my last night of Master's work, and taking my final test to it, and… not being terribly impressed. That was also the night I decided to start my music blog the following day, but having not been happy with the album, did not want to kick off the blog with it.

Well, a year and a half later, here we are, and it's time to re-visit and hopefully love the music.




"Only If For A Night" starts things off. Of course you get the echo-y sound you get with Florence, sounding more like a choir than a singer ever does. This time, the sounds are a little more lost of the ears. There's less impact for me on the lyrics of this one than ever before with her music. There's also power though, regardless. Such a weird feeling but okay, enough to pique curiosity for more.


Ah yay, "Shake It Out" comes on next with every bit of soul-saving power as I needed and was expecting. This song builds and is fantastic in its way. It's intense for sure (I mean, listen to the lyrics for real) but there are moment when everything is solved. This is a song to let loose for and relieve the pressures of life. Can I say anymore positive things before you're convinced of my love for the music and all it does? Not the video I was expecting, but I'll love you for it anyway my dear Florence.


"What the Water Gave Me" was going on in the background while I was in the middle of an email, and I was getting into it totally sub-consciously. My foot was going and everything. Wow, what power. I know, I know, I'm using that word a LOT today, but that's what I keep getting from this. If you can feel music in your heart without even truly honing in on it with your ears, you know there's something special there.


On an airier sound moment, "Never Let Me Go" takes over the ears. Why didn't I like this album a year ago? So confused now. I noticed a video was up for it and stopped just listening because something like this just cries out to be accompanied by visuals. This one's a little darker than before, but somehow more spiritual. I'll admit - I have no flipping ideal what's happening with this oily water dripping everywhere and over everything. I can't tell id it's tears and sadness over the heartbreak, or if there's a relief in out-pouring of emotion from giving in to love. Quite frankly, I don't mind either.


I had to check Spotify to make sure a commercial wasn't actually playing as "Breaking Down" started up. It doesn't sound like anything on the rest of the CD so far! The opening instrumental part alone is so poppy and cute, who would've known it was the same artist? I mean, as it goes in, the vocals give her away and it all makes more sense, but I was really weirded out by that at first. Jeese, just throw me off a little more why don't yah?



Seriously, when did we go pop-soul on this album? "Lover To Lover" has a piano carrying this old-school little cute beat. It's matched by a drum later on with some great sound, though I can't make out half of the words. The question remains, is that bad or can I live with it? I mean, this is the one that can get the crowd up and moving with her and the band in such a cool jam way. I think I love it.



"No Light, No Light" is a little more on the choir-esq side we're used to. By that, I guess I just mean that there's a very lofty feeling. Straight out, we should be a church (a rockin' church, mind you) for something like this. It picks up and moves like nothing else as we hit the chorus of the song. It's about now I'm noticing how long her pieces are. This one, for instance, sits at about four and a half minutes, though the next three push over five. Long for music, but the fact that it largely goes unnoticed as you listen means it's worth all of the time.
You had to expect something on the dark side with a title like "Seven Devils." You can feel the intensity of the depth of evil (ooh poetic) right from the start here. The deep beats alone take it to a very different place. This is one you know was an outlet for dealing with those personal demons. 




"Heartlines"
has invaded my ears before. There's drumming from a primal source and a reaching out to your soul and being. I don't get the full-on message that's being sent out (mostly because Meg and I are discussing possibly investing in better Brooklyn seats for 98 Degrees this June and I wasn't completely listening), but something was hitting right for sure.



Goodness gracious, this is a long album. I just scrolled down - 16 tracks. You don't see that very often anymore. "Spectrum" is next, and it starts off with Florence on the air, until the band picks up with more campfire instruments than I remember in recent history. It's a great movement beat, don't get me wrong. There's also a hard feel to the sound, where you really have to concentrate on the words in order to pick up anything serious. That may be the style, or just the way it's recorded, but I have to admit that this one is really hard to listen to.





This next one has a nice feel of happiness surrounding it: "All This And Heaven Too." Now, we still get Florence's air of singing, but there's also a sweetness to the music itself, with a surrounding sound of happy! Did not really expect this, but I like the input of feeling into the album. I just want to spin in circles and enjoy this one.

"Leave My Body" brings us back into the dark twisted world that is the typical Florence sound. You can feel your body just wanting to sway in all sorts of weird ways to this one. The drums are keeping an excellent beat under the vocals that are just flowing all over the place like a crazy river or even just a drop swiveling its way downhill. This is, for sure, one of those moments I wonder if anyone's really reading and how crazy he or she may consider me to be by now.

Whoa, did not know my headphones had so much bass in them. "Remain Nameless" basically relies on it for the first minute. The rest, even, relies namely on speaker beats controlling your heartbeat while the girl sings over them. There's a slight 80's throwback sound here, obviously with updated recording style, but the general feel is there.

"Strangeness and Charm" plays around a little more with beats and charming voices (sorry, titles do that to me). The one thing here that's getting me is this wonderful off-beat that's driving the music along. It's a clapping beat that was big years ago and I haven't heard much of, at least prominently, in quite a while. She makes great use of it here. 


Hmm, interesting idea for a title: "Bedroom Hymns." There are hints of body talk going on, so it could exactly what you think it is. It could also be immensely deeper than that, given the nature of this layered music that continually spins down and down and down some more.

We made it to the final song, which in this case serves as a bonus track of sorts. "What The Water Gave Me - Demo" is up last, which was great as a fully produced track. In this instance, we loose some of the layers, and I'm left a bit confused because demo's typically stick to acoustic instruments. Here, we still get a lot of the beats provided electronically, but the effects of recording are stripped away. Whatever - it still pretty much works.


Added to My Playlist:
  • "Shake It Out"
  • "What The Water Gave Me"
  • "Never Let Me Go"
  • "Lover To Lover"
  • "Heartlines"
  • "All This And Heaven Too"
  • "Leave My Body"
  • "Bedroom Hymns"


Okay, seriously, what was my issue with this back in December of 2011?? Maybe school really got to me and I was not in the right mindset. Regardless, this was mostly excellent. Some songs were a bit out there, as to be expected since this chick really does seem to do her own thing more often than not. Respect.

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Here We Go Magic - A Different Ship

5/26/2012

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Here We Go Magic is another Bonnaroo artist, and one that I've been curious about for a long time actually. I don't totally know what draws me to them, but I'm very excited to hear something.

Luke Temple, the 'creative center' of the band, was first a famous muralist because the Brooklyn band took off. The music we're going to hear today is, according to their Spotify bio, an "ethereal collage of indie folk, baroque pop, and plains country (and whatever else strikes their fancy)." While mainstream music may call for a genre placement, indie music, which is arguably more popular anyway, allows for an abundance of different sounds to come from one band.


Ooh "Intro" is first. I love when albums create body like that. The simple description is an oncoming beat of drums and excitement, made to be like a train coming at us. Let's do this!

"Hard To Be Close" brings on this semi-haunting ghostly voice, singing very simply about what's on his mind. The music backing it is not as haunting, but it's out there, away from the general maddening crowd. There's a lightness to it, despite how much is going on. Damn this is really hard to describe in words..

Second up is the interesting sounding "Make Up Your Mind." There's like this muted funk sound going on. The control over each and every note is really different. The vocals are more a part of the background than the lead of the song at all until all of a sudden everything decides to come out clearer. This is a 70's throwback in new music that I haven't heard before, creating a very different perspective than a normal listening session would provide. I think the following is the official video, my my internet at home blows, so I can't totally tell.


"Alone But Moving" is a dragging, slow song that's hard to get in to. I mean, I know these songs are necessary to balance out an album, but it's just tough so early on, even if we are close to halfway through. The struggle in the voice isn't helping much either. Concentrating on the lyrics makes things a little more okay, but not great.

Ah, yay, I'm returning to the next song after a PO'ed work e-mail about something that wasn't my fault. Joy of all joys. Sorry folks - I'll try to keep a positive outlook on the music. "I Believe In Action" definitely moves back into the disco-esq sound, and if you're seeing anything other than swirling lights, you're doing it wrong. I need some glo-sticks stat people! Ha.. okay, just trying to cheer myself up at this point. It really is a funky, cool song.

"Over The Ocean" is downright trippy. Wooooo. Ah man, this is so much more of a later-week album than a Sunday-night-prep-for-work listen. This one slows down again, with instruments and even voices twisting amongst each other, sort of giving this odd wave sound. Wait, did I just hear "Over the ocean, we'll have a vodka"?? Okay, cool, give me reasons to like this... Yeah, here's a live version performed for Alternative Side at WFUV:

Past two songs were a little too personally chatty - my apologies. I'll get re-focused in a few here.

"Made To Be Old" picks it up just a little. Enough to get toes tapping again at least. The harmonies are obnoxiously familiar - and i can't place if that's a good thing or bad. The lyrics in all of these songs are sort of weird - I'm hoping it's just a rare occasion where I'm not listening intently enough and am just missing the things that would otherwise make it all make sense. This Brooklyn sound isn't meant to necessarily make complete sense though.

Whoa, is that a raw guitar sound I hear opening "How Do I Know?" This is like a California rock song! Talk about a fresh breath of air amongst the album! This is an excellent combo of two costs, with the aforementioned sound combined with the Brooklyn echo. The question of knowing if it's love or not throws a thrilling wrench into the whole song. BTW, if you're asking, you probably are. This question's a rare anomaly to the norm.

"Miracle Of Mary" is anything but thrilling. It's harder to hear, especially after that last one. I mean, there's clearly something there, lyrically, but this is one meant for the right place/time/mood, which is not now amongst the album. Here's a version that was recorded in Amsterdam:

The final song on the album is "A Different Ship." I zoned out for far too much of this song, and didn't notice it until it got insanely distorted toward the end. It's just like they let go of all sense of musicianship at that point and let the speakers go haywire. Horrible ending to what was a listenable album! And why does it keep going? WHY??


Added To My Playlist:
  • "I Believe In Action"
  • "How Do I Know?"


Ok, reminder, once again, to self - never get overly-excited about any artist ever again. It only... ends... bad!!! (Moulin Rouge reference.... anyone? "Roxanne" intro? ANYONE??? Ugh.) Okay, so this wasn't god-awful - I've definitely heard worse. It just wasn't as good as expected. Had I actually made it to Bonnaroo, I probably would have laid out on a blanket for this one... or skipped for another band. *shrug*

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The Antlers - Together

4/23/2012

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Spotify Listen Link: The Antlers – Together


So today we've got a Brooklyn-based band (always fun) in The Antlers. One of those names I've heard off-and-on, but never knew the music. It all started with Peter Silberman recording in his own bedroom, later evolving his music into a full-fledged band. They continued recording for a while out of this sort of setting - on their own terms and gorilla style, including in a bathtub. And no, I don't have more details on that one.

Critics raved about their first album, Hospice, and then there was a follow-up, Burst Apart. The album we're listening to today is actually an EP (with 8 tracks??) released (I think) prior BA, but I'm not totally sure. This actually serves to show some covers and breakdowns of other Antlers songs. We're no supposed to expect something well-edited, and it's not along the lines of their normal music that you are never left questioning.

I don't know if I should be excited or nervous now.


So we start things off in a way that I can only describe as digital. "Parentheses" with PVT is this very psychedelic track with some odd sounds used to create the "music" portion of it. The vocals are whispy and hard to identify with on top of the rest. It's just a generally tough sound to really get in to in a sober state. It's also not hate-able though - there is something oddly appealing going on too.


"Tongue Tied" has entirely dark feel to every element. The vocals are probably the lightest part of the song. The beat is consistently down, the piano chord are minor and way down there on the keys, and even the bass that comes in later keeps this drowning sound going. It's a lot to handle, until almost three minute in they hit this gorgeous group of harmonies that almost symbolizes hope. It doesn't maintain that sound, but hey, for a few brief seconds, there's something beautiful happening.

The SNRF version of "French Exit" is infections in that the beat has my head and toes bopping along with it. I want to compare it with crazy pop songs (I still can't get "Call Me Maybe" out of my damn head!), but obviously there's something very different. Actually, I'd be happier with this if there were no vocals at all. The sounds 'musically' are far more enjoyable on their own, just pushing the envelope of annoying, but, thankfully, not getting there.

"I Don't Want Love" (Peter's Version) is where I think we're starting to hear that non-polished version of songs we were told to expect. This one's... tough. It's the slowest thing I've heard in a while, with so much echo on the high-pitched voice that my upper threshold of hearing is a little in pain. The guitar's nice enough, if we were just in a jam session in a quiet, dark room, listening to a man play out. But the ominous tones behind it just bring down the entire sound that much more.

One of my favorite new discoveries in the past few years has been The XX, and "VCR" is a cover of one of their songs. Right away, I'm prone to believe it's not nearly as good - sorry... kind of. But it's not. The balance is kind of off here, with the voice remaining pretty non-discernible. The backing to that, though, it kind of cool, as expected. It's an interesting layer of rhythms created by various electronic elements (I don't hear much in the way of real instruments here), kind of giving some nice little beat. It's close to being cute, but trust me, has not crossed that line.

Nicole Atkins comes on for "Hounds," which isn't much of anything until thirty seconds in. It really sounds like we just happened upon the group in the studio with a sound recorder. When the music does finally strike up, about a minute in, it's quite, gritty, and sweet. This is another one that is clearly lacking polish, but it works this time around. If you're able to just feel music once in a while, this is probably a good one for it. Granted, not loving the awkward vocals as they get going, and that's actual the one element that's going to keep it off my playlist, because I don't want to hear them again. But the backing? Very pretty, very cosmic.

Not going to lie, I zoned out for the first three minutes of "Rolled Together" with Neon Indian. It's just the same guitar strum for a very long time, eventually joined by some lyrics on repeat, and some kind of electronic buzz. About four minutes in is where everything takes off. This would be great to lay in grass listening to, and maybe a few other situations. I dig it enough to let it go on without getting too overly bored with the concept. Sure, we can tolerate this one, even at nine minutes long, simply because it does fade into that background thought so easily.

All right, so the closer is a MUCH longer very of "Parentheses" this time with Bear In Heaven. It starts with very little than noise for the first minute or two, then picks up with a drum beat, at least. It build with vocals, and then with a few more elements than make it a pretty heavy track overall. This would be far more fitting on a movie soundtrack, with something to watch in a story, than on the tail end of an EP. But I guess you can take more liberties with it's not a full album with more weighing on it.


Added to My Playlist:
  • "French Exit" (SNRF version)
  • "Rolled Together" (feat. Neon Indian)
So, for a stripped down album, I'm going to hold my tongue and say that there's probably more to the better, polished versions of these songs. This was certainly lacking something to give it the push to a great collection of tracks, but the hint of something great was, oddly enough, right there on the tip.
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Delta Spirit - Delta Spirit

4/20/2012

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Spotify Listen Link: Delta Spirit – Delta Spirit


If you clicked on this from Facebook or Google, you know that I'm sick and just not up for much of anything right now. 

This was supposed to be an innovative, different sounding band. Let me spoil it for you - they're not. And I don't think it's the cold talking here.


Kind of just getting right down to this one. First track up is "Empty House." The song is a very typical sound, if I'm being honest. Every line is left dangling on the air with no real final meaning. The music is okay, but nothing exciting or drawing. It makes for good background music though, and I'm sure certain lines would probably be appropriate for certain scenes in a teen show. This is like a less-fun Fall Out Boy appearance on "One Tree Hill."

The annoying thing for me during all of this so far (yes, in the few minutes we've been on this) is that this is very much like a band that I usually really like. "Tear It Up" just sounds like everything I've already heard. It's no wonder you need to get to the ears of people before everyone else. This is like just another Brooklyn indie band that gets all of their friends to come out to see them. At least here there's some sort of progression and umph to the chorus as it hits.

"California" at least gives some intriguing lines as we kick off. "I want you to go to California for yourself, but not for me." I mean, awesome, there's some reasoning behind singing the song. The music itself is calming, despite the fast-moving instrumentation. There's something about the way it layers over itself that mellows everything out quite a bit, giving a final sound of just serenity and acceptance. Kind of cool when the concept of a song seems to come through in every possible way. 


A decent beat gets going for "Idaho" with the drum beat. There's nothing too terribly outstanding worth mentioning at this point. The guitar's somewhat all right, with just a little twing of beach theme throughout, but not enough to send us down the PCH. It's moving though, just enough.

"Home" has a sort of appropriate down sound. It's slow and seems to just take on this explanation role, instead of much else. This is the solemn moment in the show where we just get to connect with the artist about his writing. There's even instrumental breaks that leave us just sitting and contemplating our own hardships, all to the picking of an echoing guitar and some other slight whistling sound, keeping the mood.

I took a break before diving in to the second half of our trip on Delta Spirit (ha - see what I did there?) and came back a little more refreshed and willing for "Otherside." While the sound still falls way to easily into the background of my life, I did stop to hear the chorus - I mean, there's at least a pause leading in there. This builds just a tiny bit of anticipation towards really hearing something happening. Not too shabby.

"Tellin' The Mind" is probably the most upbeat song we have yet to experience here. There's some kind of... is that actually passion behind the music? I mean, it's a little on the old-school pink side of things, and the drums are certainly taking over. It's got so much more body to it though! There's excitement and energy, finally. We're up and dancing and really enjoying this one.

Oh, but we can't have a party going constantly. "Time Bomb" slows things way back down, and we're back to drifting on the breeze as it goes. It's not even a nice clean breeze through the meadow. This is a tougher one with polluted air through a city. I'd almost go so far as to say it's dragging us down to a walking pace as it goes. See what happens when I can't get a clear placement on lyrics? I start getting all story-teller and weird-like on y'all. Oi vey, come on, give me more to work with, please!

I think there's an attempt at some deeper meaning for "Into The Darkness." The classic line of "we're all just sheep... being herded" caught my ears as it went by. I'm almost positive this is some sort of political number or at least commentary on a generation. How could it not be with lines like this? Plus, if they're going to keep things as such a steady, unfeeling pace until so far in, then they should at least give us something more to grasp on to in some which, way, or another.

Are these guys kidding me? They're going to wait until track 10 of 11 to pick up the beat and show us they've got more than one song worth moving to? "Money Saves" has some of the more interesting uses of mixing that I've heard this entire time, complete with dynamics and rhythms. It's not great, but it's still about damn time.

I spoke too soon. "Yamaha" comes on with an organ sound to start the close out. It's a lullaby of sorts. I want there to be more, really I do. But it's dull and just a chance to maybe try some harmonies that we've really been hearing the whole time. I'm going to hold out and say this is probably better live. Please.


Added to My Playlist:
  • "California"
  • "Tellin' The Mind"
So, I'm not enthused. I mean, that's not to say I didn't totally enjoy the album in some way. For some reason, maybe my mood, this cold I'm fighting, or an over-saturation of this sound - this one just didn't strike the right note for me. It had its moments, but nothing special that makes me want to know and hear more and more.
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Grouplove - Spotify Sessions

4/18/2012

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Sunday, June 10th @2:00pm
This Tent


Spotify Listen Link: Grouplove – Spotify Sessions


Well, bad news folks - I won't be heading to Bonnaroo this year. The good news, though, is that it's because I won free tickets to The Book of Mormon on the day that I would have been driving down! Trust me, this actually does work out pretty evenly. In the meantime, I'll continue covering as many Roo artists as I can, up until it starts. Then, I'll be switching the festival focus to Firefly Festival down in Delaware - I think that'll be the next one I shoot to head to. There's lots of artists overlapping anyway, so it should be sufficient enough to make up for missing TN this year.

Moving on - GROUPLOVE (that's how it's typed on the app anyway) is said to be somewhere between Modest Mouse and Arcade Fire. They're an LA-based indie rock band who seemed to have forged this musician friendship while in Greece (after two had randomly met in Brooklyn). It wound up working out pretty well back state-side afterall, with an EP release and tour with Florence + the Machine in 2010. 

This is the first band I've come across that has done "Spotify Sessions." I don't know what the exact format here will be, but I would imagine it's something along the lines of what the AOL sessions are - largely acoustic and entirely intimate.


"Intro" welcomes us in with a little talking - some introductions, a description of the "hip" space, and hearing the small crowd involved. They talk a little on their living space, and a tiny interview on their start. They met at an artist colony... I want to join an artist colony... Okay, getting sidetracked...

The first actual song is "Cruel and Beautiful World." It's self-described as "a slower one." I kind of adore the simplicity of the music here (again, it's an acoustic session). They certainly use harmonies - it sounds like everyone is involved throughout the whole this vocally. While the song gets a little on the whiny side, it's not so much that we can't kick back and enjoy it. This is the sort of thing we could probably chill at Union Pool and hear for the afternoon.

"Tongue Tied" picks up the pace a bit, which is apparently more their style. Even with the stripped-down line up, you can feel the energy, which is just so much fun. Wait, shit, I know this song! Love finding out about bands that I didn't realize I already loved. "Glee" actually did this song, oddly enough. It's sort of just a lot of fun, and moved with this awesome dance feel throughout. Seems that, theme wise, it's a lot more about friends (or whatever) figuring things out without the stress of figuring things out.


The final song is "Colours" (prior to the ping pong game of course - listen to the track to understand that reference). This is an odd one, sort of. I mean, the sounds are a little harsher, maybe because there's more yelling than actual singing. But for some reason, It's all still kind of interesting, at least for one listen. It's not wonderful, but hey, it's the close out, and they seem to want to cover all their bases on this small set.
Added to My Playlist:
  • "Tongue Tied"
So this was fun for a quick listen! I'd be up for hearing more from these guys. Overall, definite indie sound, and this album didn't really define them in one way or another. It'd be nice to be a little more sure in what kind of music they're trying to make, but that'll come with further investigation, I suppose!
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Young the Giant - Young the Giant

4/14/2012

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Picture
Sunday, June 10th @ 6:45 PM
This Tent

Young the Giant - welcome to Ears Like a Hawke. I've been wanting to give these guys a review since I first heard "Cough Syrup," and lucky me, they'll be at the Roo this year! Warning - the show overlaps with fun. and The Shins - it's going to be an extremely tough one this time around.

This has been a "band to watch" on so many lists, sites, magazines, and networks. They've lived the tough touring life, and have finally caught a break. Funny thing is that this album actually came out two years ago, so we'll cancel that "overnight fame" label and appreciate the sacrifices made just to have fun and tour.


"Apartment" kicks things off on this self-titled album. We come in with a very light guitar strum and heavy feel to the song, like there's a hard time we're getting a glimpse in to. Could be a heartbreak, or on-coming fight. The construction of the song is really interesting - the musical bridge before the song picks up almost sounds out of place, as do the small breaks - there's not a hugely unifying sound throughout, aside from the melodies of the verses themselves. The words are the draw-in though. There's a toughness to be experienced - the music breaks just give you a second to let the rest sink in.


The first single to come from this album was "My Body." Personally, not sure I knew this was from this band, but most definitely heard it before. The sound to this one is fantastic. There's a steady beat to bop to as we build in to a chorus to truly rock out to. I really, really, really want to see this done live. The dance pit alone could be fantastic just to this one. There's a 'jump, jump' feel overall to let go to, and that just makes for enough of a good song for me. God, please, let loose.
"I Got" comes on with this cool little strumming pattern and the hi-hats at work. This one's lighter and more on the breeze than the other two so far. It's not as dance-worthy as "My Body," giving more of a swaying feel throughout - probably close to the beats of those slow songs you used to dance to in school. This is the first time the effect done on the vocal track is really noticeable to me. It's not too bothersome, just different really.

Oh, finally, the song I think I needed to hear more than any other. "Cough Syrup." It's weird - this has a sound of a depressing number, but there's a lot to be uplifting here in the lyrics. It's got lines of making it through the hard times. There's an acknowledgement of the bad, but a realization that the struggle is worth it. You just have to wait for the medicine to go down and work its magic. If there were an easier way, you'd take it - but the journey is what makes the end worth it. Shit, I'm going to be back in tears if I keep doing this. Onwards.

Almost as if they know you need a moment to breathe and recover, the band eases in to "God Made Man." The track is intense at the start, but in an uplifting way, if that makes any sense. It's amazing how easy this album is to listen to, especially with some pretty damn deep lyrics. "But I know I will walk across when inside, inside it feels right." Ah, the things that stick out to you when you most need to hear them. Holy shit, they just broke down and brought on the rock. This one's a keeper.

"12 Fingers" has this much brighter sound to all of these words that are coming out and in the guitar. These lyrics really are good, but maybe that's just the state I'm in at this point. "Your heart beats just like I wanted it to, and you wanted it to." That's the hopeful optimist in me, which is grasping on to whatever's possible right now. Can I impart a little advice on you, readers, whoever you are? Give in when you think you shouldn't, when it comes to love. It's worse when you don't. Let your heart beat the way you want it to, no matter how wrong your head says it is. What the hell's going to be the worst that can happen?

Sometimes I let my person life dictate way too much of how i read a song. *shrug* Beauty of music and whatnot, I suppose.

"Strings" is not some beautiful combination of a quartet, as I thought it would be. It's a very sunshine inducing number though. There's a Kings of Leon - esq beach highway feel to it actually. There's a lot of lyrical elements of a breakup though, filled in with elements of misunderstanding and trying to show what he means. In fact, I think I caught some lines about riding in a chevy, and a sound of waves toward the end.

That's actually one of several videos from their "In The Open Sessions" Series - they're all pretty incredible - check it out on Young The Giant's YouTube Channel!

A good drum beat gets going for "Your Side." I'm not entirely sure what's going on here, because my stupid brain keeps checking in and out of listening, but I do know that as the song builds, there's more and more of this great rock sound. I am catching some decent lines - even if I don't know how they fit into the bigger picture of the song - "everybody knows I tried."

"Garands" picks things up in this almost pop-punk way. There's just something too happy about that guitar lead-in. It's beautiful, don't get me wrong. The melody does about the same thing. I wish I had discovered this band as a teenager, because they may have added some positivity to my listening experiences as a kid, compared to the depressing shit I used to take in constantly. There's actually not much good feeling in this one, as he talks on what he's become through it all, and it doesn't all sound great. The sound, I think, is what's uplifting. As the drums rev up one more time, you can't help but feel your heartbeat quicken and feel that guitar to its fullest.

More drawn-out, western-ish guitar lines enter for "St. Walker." Kind of a completely different feel in this one compared to the rest. The vocals give off more of a longing sound to them, as the guitar moans just a little bit of sadness. Odd track when you think of all the rest, yet it's kind of great to hear something a little different. 

"Islands" takes on a much more cosmic sound, sort of just floating on the air without much direction. There's nothing remotely island-like, unless you think in terms of "Lost," maybe. The previous song was a little different - this on is completely out of the mold of the rest of the album. It's low and dragging and difficult. It picks up eventually, thankfully, with these raw natural drum beats, almost like a circle, which is actually very cool to hear. Now, if it weren't for those first two minutes, it'd be a fantastic number.

Nice bass line, interesting concept, for "Guns Out." I do kind of love the line, "you'll drive in my car, just tell me we are going somewhere where the stars meet the sky." Insanely romantic notion, but it works. Fighting for something more is never a bad thing, at least in my head. The music is semi-hippie infused, with a touch of beach nostalgia. Good God, I don't really know what I'm saying anymore.

This whole back half of the album has definitely mellowed out a lot more than the first half. "Every Little Thing" has a toe-taping beat, but nothing you can loose yourself in enough, other than maybe the chorus, slightly. Even then, it's more of a stay-in-place losing, nothing enough to take over for a few minutes. The whole song has this odd trance-like quality to it, largely attributable to the echo of the voice. 

Oh you wanted folk-ish harmonies? Because they've got that too. "Typhoon" is so much more vocals than anything else, even with a moving, easy flow in instruments through the background. It winds up being an impressive track for the band overall, showing some darker tones, while maintaining something interesting to hear and take in.

"Strings - Reprise" closes this one out. It's essentially the same song, stripped down to a piano and a voice, trying to understand. They pick the pace back up a little bit in, to close out in the same way we loved hearing - a bit of a party, with something to party for - a meaning, a realness.


Added to My Playlist:
  • "Apartment"
  • "My Body"
  • "Cough Syrup"
  • "God Made Man"
  • "12 Fingers"
  • "Strings - Reprise"
I'm so happy with the decision to hear this. This album took me through highs and lows, and some really greatly done instrumental choices. There was a lyrical essence to this that I haven't heard in some time, or maybe I just haven't been paying attention in a while. Thanks for bringing me back to it YTG. Now, I'm going to get ahead and listen to "Cough Syrup" about 20 more times this afternoon.
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Fruit Bats - Tripper

4/13/2012

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Sunday, June 10th, 12:30 PM
That Tent


Fruit Bats. Hm. I've heard of this band before, I swear it. I used to get these e-mails, way back in the day (okay, like 10 years ago), on an MP3 distribution list. This was literally P2P, through e-mails, where everyone just tried to trade whatever they had. It was before anyone realized it wasn't the most legal thing in the world. I was 12 - I literally plead ignorance. I'm an advocate of legal listening now, trust me.

So, Fruit Bats. We're in for "bright melodies, major keys, and natural imagery mixed with the occasional blazing insight or tender observation." The band has seen a rotation of members over the years, even having one of them perform as part of The Shins for some time (Hmm... Roo reunion?), but has maintained a steady pace in music making. 


Track One on this latest release is "Tony the Tripper." Awesome guitar strumming for starters, which makes this an immediate contender to sit up and listen to. The vocals are okay, not the best ever, and on the whiny side, but whatever, you win and loose on some songs. I like the music going on for this, and the way the song moves as a whole. It's not bad to sit and hear, so I'll give it the break it probably deserves. There's the feel of a first song, and they weren't prepped to move farther in to the album.


"So Long" is so pretty at the start - there's cute little harp sounds and the general sway throughout the beat. There's almost a beach sound to the voices, but not so close as Kings of Leon was. This is airy in a 60's way, but without being hippies. It's just nice to have this gentle little sound and almost forget that there are words and probably a point to the music. "She should dance if she wants to dance." I don't know if that's the point, but he repeats that line a lot, so let yourself go.

I come back to the remainder of the album after a beer, some wine, and watching three episodes of "Smash," so anything and everything might sound awesome right now. Hey, I like being honest with my reader(s). Anywhos, "Tangie and Ray" is just this cute little moving song, and I'm sure there's a story I'm missing somewhere in there. THe mixing isn't fantastic here. The music is good, and the melodies for the voices are good, but they don't meld right. It's a simple volume problem - the music is much louder than the voices. Hurts the whole experience.

"Shivering Fawn," to be honest, is about to bring me to tears. I don't think it has anything to do with subject matter at this point, I think it's just the sound. Everything's so light and beautiful, you feel like you're around some sweet lake and pretty trees, or something along those lines. It's amazing that a song's able to take someone away to this whole other place mentally. The more amazing thing is when a song can completely take you there emotionally. There's nothing spectacular about this song really - it's the simplicity that actually makes it all the more powerful to me. Beauty in the tears though, I promise.

"You're Too Weird" is really cute, and I mean that in the most flattering way possible. I mean, it's just understandable and this classic (ok, maybe not classic) story on someone thinking they're not right for you, but you knowing they are. Huh. Funny story there. I'm sure that nneeevveerrr happens. (I love feeling safe in that he never reads this sometimes, even if getting the point across would be nice.) Bah, so much for trying. At least the tone here is much happier and content with the outcome, seemingly. It sounds happy enough. And there's this awesome 80's themed video to go with it!

Funny title coming: "Heart Like an Orange." I mean, come on, you have to giggle a little bit on that one, right? This takes a little bit more of a cosmic turn with musical choices, probably utilizing some of those sound effects keys a little bit. It's a bizarre little song for really no good reason at all. But hell, experiment, be merry, and enjoy every minute.

This album is so damn sweet, but in the least sickening way I've heard in a long time. This album is one for the lovers. "Dolly you know I'd do anything for you" is just so damn simple and nice to hear. "Dolly" employs this interesting guitar falling sound along the strings, with a slight reverb involved. The keys are simple and merely keep a rhythm, never attempting to take over some stronger melodic point. The percussion is a simple kit and a tambourine. It's just all really nice. :)

"The Banishment Song" takes on a slightly darker tone, though I don't feel 100% comfortable describing it that way. It sounds like a break-up song entirely, even with the falsetto-range singing. I guess the slowed down beats in the backing are what drags it out, and thus down a little bit. It's sort of weird, sort of interesting, sort of boring, and sort of sad, all at once.

The opening to the next one is so tonal, and so unlike anything else on the album up to this point. "The Fen" almost serves as some sort of warm up/interlude for the coming final few songs. It's hard to determine the exact reasoning for including this, other than the chance to slow down for just a minute (or close to two actually) before we move toward the end.

The beginning of that end is "Wild Honey." The beginning music is very pretty, almost picturesque. The song moves slowly over the air, never really determining where it wants to land. There's never an exact melody throughout, and even the instrumentation seems just just play on a whim. "And in what remains of you is pure and genuine; is wild honey." Total trip through a field of daisies on a warm, breezy day.

"Picture of a Bird" seems like a more organized grouping of the previous sound, where the instruments are together, but stripped of any electronic element possible. Go back up and look at the cover - this is exactly what I could imagine the final frame of the video for this one pulling out and ending to. We're just ending the day in the field, looking out onto it with no cares, just wonders.


Added to My Playlist:
  • "So Long"
  • "Shivering Fawn"
  • "You're Too Weird"
  • "Dolly"
You need to be okay with silly love songs to hear this thing all the way through. The final few numbers are what breaks that just a little bit, but the scale of the voice remains pleasant, even if it's just the given octave. Either way, there is some genuinely good work being done here, especially given the career longevity. Should wind up being a fairly great show one way or another!
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    My name's Janelle. I'm a fan of music.

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