Surfer Blood – Astro Coast

Front to back, Surfer Blood’s debut album Astro Coast is catchy as hell, and like all catchy music, the melodies make so much sense that they sound effortless. With sturdily-constructed, semi-noodley guitar-centric rock like this the comparisons to The Shins and early Weezer are absolutely unavoidable. That’s really no big deal, though, because where I come from that’s good company. Even using that starting point, Astro Coast brings interesting qualities all its own, and even though it’s early, it’ll be surprising to hear another album this year which ingratiates itself to the listener as quickly and thoroughly as this does.

So what sets this apart from the rest of the indie-rock field? For starters, there are the faintest echoes of surf music to support their name, from the tubular dueling guitar-off of “Neighbor Riffs” to the overamped reverb treatment of the vocals on “Swim”, “Twin Peaks”, and “Slow Jabroni”. But to me, the key here is the modest but bursting-at-the-seams quality of the songwriting. The songs don’t sound busy, but aren’t afraid to go places that more concise pop songwriting doesn’t bother with. Why not cut into the middle of the otherwise power-focused “Swim” with a jaunty little rodeo-riff interlude? Or how about giving the echoing and tropical “Take It Easy” an extended motorik outro? Maybe build a song out of a few chiming harmonics (“Harmonix”)? For Surfer Blood, these things are no problem, and their inclusions doesn’t sound like they were given a second thought. Instead of milking each musical phrase for everything its worth, Surfer Blood burn through riffs with gusto and move on to the next idea without looking back. It’s sort of like a movie scene showing a sexually inexhaustible young couple going at it repeatedly, undeterred by the limits of normal experience, confident and restless.

One criticism I have is that the meaning here is a little difficult to take away. Bearing another mark of energetic but restless youth, the songs focus almost exclusively on the interpersonal dynamics that are so important from the end of high school to the years of stabilizing professionalism, without really pushing deeper or matching lyrical content to the mood of sound. The last third of the album does well at conjuring a resigned sweetness, but that leaves two thirds somewhat confused and rudderless. This vagueness results in a limited emotional pay off, and leaves little to hang your hat on. And although there is a vibrant immediacy and innocence in the music that sits in well for the lack of distinct personality, most listeners’ search for meaning will probably go no further than these surface “sounds like” comparisons to other bands – bands that share the same sounds but did them first with more clarity of purpose.

Keeping things in perspective, though, it is better to have music that sounds great but comes up a little short thematically than to have great words set to music that sounds like shit. Whatever the hell an Astro Coast is or what it has to do with the personal stories included on this album, I may never know. But what I do know is this: Astro Coast succeeds admirably because it pulses with a fun, youthful, and invigorating feel, and obvious lack of arty pretenses, studio mediation, or self-importance. Not every band can be Radiohead, thankfully.

Surfer Blood

Kanine Records

Maribel – Aesthetics

Maribel band members Liv, Kjetil, Lewi, and Pål hail from Norway and they create unremittingly lacerating, dreamy, melodic, and warped noise à la Serena-Maneesh, with a generous helping of My Bloody Valentine and A Place To Bury Strangers swirled into the gnashing, dashing sonic sea.  The unadulterated tunes overtake the listener with an acute, relentless rhythm of pounded drums and cymbals, winding and fuzzed-out, distorted guitar riffs and drones, floating layers of impassive male and female vocals, and the sound of static that clings to all of the songs.

The band’s album Aesthetics has been out since spring on Quince Records in the U.S. and Japan and that version includes “Spit Voyage” which was previously released on Maribel’s 7-inch Taste The Trash.  The song presses with a keen edge of buffeting drum beat and all sorts of ear-piercing goodness like sharp ‘n’ sheering, yet somehow still sinuous, guitar distortion and exclaiming, echoed male and female vocals.

The hypnotic pull of “Siamese Eyes” features an unyielding march of a beat battling against bright and slowly-writhing Middle Eastern-tinged lines, squalling, stinging guitars, and mainly male vocals.  An insistent tempo runs through “Ecstatic”, as well as fast-hit tambourine, snaking, fuzzed-out guitars, and upfront female vocals that repeatedly intone phrases like “ “Inside of me…where beauty lies.” and “You’re losing breath, my oxygen.”  Once the guitars consume the laid-back trip-hop beat of “Flesh and Blood”, it sounds like it could be a long-lost My Bloody Valentine track with a radiantly woozy vibe of looming, scraping guitars and dazed ‘n’ glazed male vocals.

The Serena-Maneesh and My Bloody Valentine hybrid “Downstairs” slows the pace down a bit while keeping a hard sheen of tambourine hits and gritty ‘n’ snarling guitar line wrapping around swoony, up-front female vocals and out-of-focus male vocals in the background that drift off into a pleasurable miasma.  “Euphoric Licks” spotlights light, breathy female vocals that float like down in the air amid a sharp, circling guitar line that threatens to pierce the dreamy spell.

Although “Soothe” is a relative balm of calm, a steady backdrop of aural agitation still pervades the My Bloody Valentinesque atmosphere.  Nothing is ever completely placid in Maribel’s world.  A low-range grind and frisson, high-shining chings, and sighing, lambent male ‘n’ female twining vocals that resemble Kevin Shields and B’linda Butcher find purchase beside repeated hits of tambourine and destabilized guitar lines.

http://www.myspace.com/maribelband

Gecko – “Where I’ve Gone”

Having gained national exposure in his native England for the first time this year, it would appear that 2010 is going to be a big year for Gecko.  Will Sanderson is the feisty young British balladeer who figureheads the three piece, and for one so young displays a superb natural talent for song writing. Influences are far drawn and vast, though comparisons will undoubtedly be made with the late Bradley Nowell of Sublime, due to Sanderson’s seemingly effortless ability to switch between poignant soulful vocals, and witty light-hearted rap about just about everything he knows and loves from his rural British upbringing. “Where I’ve Gone“ is a beautifully written track. Sanderson manages to combine a superbly crafted yet simple melody with heartfelt lyrics reminiscent of a better time. He draws on influences such as Randy Newman, themes of love and friendship, and couples it with the superb stripped down acoustic guitar sound of Sublime at their finest. The pretty harmonies and comforting trumpet solo are a knowing nod towards his ska and reggae heroes, and the resulting equation is an effortlessly soulful tune that needs to be heard by the wider audience. Having received its first airplay on BBC Radio 1 in 2009, he seems to be achieving the recognition he deserves. A must listen.

Jack Rose – Free MP3 Download

On the 15th February Thrill Jockey will release Luck in the Valley by Jack Rose.

Rose, who passed away suddenly at home in Philadelphia on December 5 at the all too young age of 38, was a masterful guitarist, who was considered instrumental in bringing ragtime into the modern era and transforming it into something that was both referential and original.  Also, as a self-taught player proficient on the guitar – including the 6-string, 12-string and lap steel – he brought a wide range of other influences to his music.  This new album is a fitting parting document to showcase his innumerable skills as a songwriter and guitarist.

“Woodpiles”

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Eloy – Visionary

If you looked at the history of progressive rock, you’d find that most bands eventually faced the conundrum of which is more important: artistic vision or success and money. In other words, most, like ELP, YES and especially Genesis, eventually “sold out” to commercial tastes, becoming parodies of their former glory. But Eloy, with forty years behind them, have yet to do that. While they aren’t as technical and abstract as they used to be, they, like Marillion and Spock’s Beard, still craft great melodies with interesting timbres. Their new LP, Visionary, is a fantastic record, and a great example of how to attain a more assessable sound without losing any integrity.

Eloy was founded by German guitarist Frank Bornemann in 1969, and he’s been the only constant member (similar to Robert Fripp and King Crimson). The group has gone through four “periods,” with the last one beginning in 1988 and disbanding after 1998’s Oceans 2. Although a cult prog band, there was significant demand for Bornemann to begin working on a new album to commemorate the band’s 40th anniversary, and he assembled members from the past to recreate the “vintage” Eloy sound on Visionary.

Their “space rock” origins shine as “The Refuge” opens with guitar harmonics, flute riffs (drawing upon their influence of Jethro Tull) and wavy effects. Bornemann’s vocals are direct and smooth like Roine Stolt, and the bridge melody is especially affective. The subtle complexities and usage of unconventional instruments keep this in the progressive rock realm, but it still has the appeal of a hit single.

“The Secret” begins with an ominous drum beat and a thick atmosphere, almost industrial, like early 1980s Pink Floyd. Bornemann uses a weird computer effect and echo on his voice, adding some mystery and alienation to the verse. It lacks the emotion and poetics of the last track, feeling almost manufactured, but it’s still good. “Age of Insanity” features heavy, almost blues based, guitar riffs and piercing keyboard lines. The keyboard and guitar solos in between the vocal sections break up the monotony (this track, like the last, doesn’t explore enough to warrant their lengths, and eventually both get redundant).

A funky bass line leads “The Challenge,” which is subtitled “Time to Turn, Part 2”, evidently a sequel to a song from their 1982 album. It’s a much catchier and interesting song than the two previous ones, with a fantastic, prophetic female chorus. The synthesizer provides subtle, apocalyptic accompaniment and the David Gilmour-esque solo fits perfectly. This track will stay in your mind for awhile.

“Summernight Symphony” once again draws comparison to The Flower Kings with its vocals and combination of retro prog and futuristic atmosphere. Also, female vocals are featured on another memorable chorus (this time shared with Bornemann). It’s a simple track, but if there’s good songwriting behind it, there’s no need for anything else (which is the problem the aforementioned “sell outs” had).

“Mystery,” subtitled “The Secret, Part 2,” builds from a Genesis-esque guitar arpeggio to a trampling bass line and background harmonies over Bornemann’s lead. Then all the elements are combined and the keyboard takes over with a solo near the end. Some of the same chord changes are used as in “The Secret,” but nothing is blatantly repeated for conceptual continuity. A new arpeggio provides a coda and leads into the album’s concluding prologue, “Thoughts.” At just over a minute, it’s simply acoustic guitar chords and harmonics accompanying Bornemann’s reflectively melody and lyrics. It’s a nice way to end the album.

Visionary proves that just because a prog band decides to focus on a more hard rock and pop sound doesn’t mean they have to suck (to be blunt). It’s impressive that a band so far into their career can still produce music this good. It’s true that some tracks are definitely better than others, but there isn’t a bad moment on here. Eloy have successfully integrated progressive rock touches into radio friendly tracks, and they’ve produced an album to be proud of.

Check out this promo video

Moonface – Dreamland EP: Marimba and Shit-Drums

There’s talk of a new Wolf Parade album coming out this year, we had a Sunset Rubdown and a Swan Lake album last year and the year before that, the second Wolf Parade album. Yeah, Spencer Krug works around the clock, constantly progressing his songwriting, his craft, his artistry and his skill to new levels. He’s defied the odds by creating rousing music that touches on different senses and with such ease, he’s entirely captured his unique sound and delivered it in incredibly fantastic fashion.

So when word came out that Krug would put out an EP of marimba music, we knew there’d be a creative force behind it that never disappoints. Dreamland EP: Marimba and Shit-Drums is a stunning song cycle that details Krug’s dreams and turns them into a surreal experience. Rather than splitting these songs into five or six different tracks, it comes as one 20-minute piece of music. The marimba is always present, either performing basic counterpart harmony that supports in the background, adding color during moving sections and verses or even, as the full-fledged star of the show: performing the melody with splendid gusto. There isn’t a confusing element about it and all of its pieces work together, as one overall superb work of art.

The mere drawback is that you have to remember specific markings in the time to be able to go back and enjoy over and over. However, it’s obvious that it was Krug’s intention to have his Dreamland enjoyed as a whole entity. As Moonface, the story told through the lyrics is of a lusting journeyman, seeking his mate through the water, on the ground and through the sky. Changing shapes, the story is a vividly stark one that cycles around metaphors, similes and even dark and light imagery. Whether he’s swimming through the water as a fish before reaching land to evolve into a hissing snake, he’s captivatingly engaging. Never succumbing to strange inhabitants, Krug’s story feels sincere and more over, enlightening. He’s taken his own dreams and fleshed them out into something tangible and memorable – two starkly dissimilar connotations of what a dream actually is.

Isn’t it utterly awesome that there are even labels willing to put something like this out? “Oh, you wanna make one long track of just you spinning tales of dreams with marimba, some drums and guitar? Sure, sounds good…and oh, you wanna name it Shit-something? Cool!” I recently read an article on films where the writer was making the claim that we’re living in a golden age for cinema and the masses aren’t even aware of it. I’d make that exact same argument for music: we have years where a multitude of genres can take over, we have albums that blur the lines of production and sound so much, that listeners would never be able to guess what decade it came from and furthermore, the music is coming at such a vehement pace and with immense quality.

Ultimately, there is something deeply admirable in knowing we have artists that will not only challenge themselves but that they’re even ambitious enough to do it. Rather than settling for a mixed bag of tricks, Krug has gone all in with his 10-7 and came out with a running straight. He’d mention, for years, about being intrigued by an instrument like the marimba and now, he’s taken all of its beauty and put it on display for all to see. Thankfully for us, it’s an impressively remarkable piece of music, an outstanding EP that’s absolutely wonderful.

Jagjaguwar

We Only Said – s/t

While listening to track one, “Our Monochrome Life”,  I said to myself, “I cannot review this”.  My reasoning being that a few seconds after pressing play I am at a loss for words, or the “right” words perhaps? How could one possibly capture the beauty that I hear with We Only Said.  This is out of left field, if left field is Rennes, France.

The group’s self titled album was produced by Bob Weston of Shellac fame and is a perfect soundtrack to every memory of love, warmth, beauty, sadness, hope, and smile you can remember. It begins with “Our Monochrome Life”,  a song we can compare to the meaning of the world and the two line up in perfect harmony. Our life is that of many shades all forming into one and this surrealist vision that is all too fitting. This first track, with its “in a trance” like emotion, just seeps from the pores. Track two, “I Discover The Murder”, starts much like someone’s desolate stare over a desert with the sun rising into a mirage. Vocalist Florian Marzanos’ low and trembling voice soothes all unnerving thoughts out of the title’s inclination. The song moves into a My Bloody Valentine’s “Only Shallow” realm with a piercing finale that seems to grow louder as the track fades.

“Driving My Car” – with its Jose Gonzalez like introduction – is a dual vocal, spook filled three minutes. “Looking for her, car crash. I close my eyes, lies”.  Guitarists Marzano and Mathias Prime exchange the proverbial dance that springs and shoots out of these tiny speakers and into my spine. With a rushing jaunt we slide into track four, “Get Out Freakie”. Mathieu Languille takes the helm on the trap set here and is magical in his timing, tapping, and intricate rhythms that back “Get Out Freakie” with everything it deserves. I can imagine We Only Said live, standing still under soft lights entrancing the crowd. A build up in the last seconds leaves us screaming like Thurston Moore at Reading Festival 1991, on his back, tearing into his guitar with a drum stick. It’s like the front row seat explosion you feel from a Charles Peterson photograph.

“Go Rotten” jumps in next with a haunting piano intensely skipping behind. This is constant throughout the song, building and building and then leaving. On its way out as soon as it walks through the door, “Go Rotten” is drama filled and gives you goosebumps like only the best thriller can. Jandek, the Houston, Texas recluse, would shudder at the sound of “Cheerful Girl”. Underneath this three and a half minute ambient number is a bit of a harsh crackle that’ll leave you wincing and in a state of breathlessness. Florian and the boys are “trying to say goodbye”.

What a bummer of a title we have here on track seven, “Your Drab Eyes” – fortunately the song doesn’t give off the feeling of anything remotely close to dull, cheerless, or lacking in spirit. Rather, a faint piano introduces us to an overwhelming sadness such as a death in the family or that of a friend who you never said goodbye to properly the last time you spoke. Grey and lacking in color, yes this is defiantly a spot-on match that maybe would settle a little better somewhere else, but not in this song. Keeping with the overall feeling of wonderment and beauty, “That Evening We Were Alone Together” is a romantic serenade of only the most sincere kind. Short and ever so sweet clocking in at just over two minutes, not much is said and not much is needed. The bass pulses in and out of my headphones on “Killjoy” and with squinting eyes I crouch my head. The off-putting snare drum time signature only adds to my awkwardness. A tirade of instrumentation coupled with a screaming, treble heavy solo make “Killjoy” a stand out track among this 10 song masterpiece. I am reminded of kitchen talk with the title of the last track, “Eighty-Sixed”. Again beginning with piano and a barely distorted guitar or guitars. “I feel eighty-sixed”, Florian breathes out in the opening lines, and we collectively feel the same. Another crescendo and we are thrust yet again into this powerful entity that is We Only Said.

In the words of the legendary Morrissey on track four of 2008’s Years Of Refusal: “I’m throwing my arms around Paris”.

New album from Stellarscope

“This is who we are” is the latest effort by the Philadelphia alternative band Stellarscope. The release marks a new era of songwriting and sound experimentation, a perfect blend of pop songwriting, sonic mayhem, and quality structure not touched upon by their previous efforts.

Stellarscope a three piece band from Philadelphia in the USA, comprise Tom Lugo (vocal /Guitar / fx/ samples/ programming), Rob DeFlaviis (bass / keys) and Bob Forman (drums / percussion). In the decade of their existence the band has evolved their style becoming more experimental with their blend of space-pop.  Their range of instrumentation makes Stellarscope sound like a band with more than three musicians, as they weave a sonic shroud over fast guitar riffs and heavy rock drum rolls. They use delay and loop back to dramatic effect as the songs take on a space-trip quality.

Current members

* Tom Lugo – vox, guitar, fx, samples, programming

* Rob DeFlaviis – bass, keys

* Bob Forman – drums, percussion

Websites

http://www.myspace.com/stellarscope

http://www.reverbnation.com/stellarscope

Tour dates for RX Bandits

RX Bandits announce U.S., Australian tour dates

Southern California’s multifaceted prog-psych-rock quartet RX Bandits are once again taking to the road in support of 2009’s highly-successful album Mandala. Touring begins next month in Australia as the group joins the massive multi-city traveling Soundwave Festival alongside Faith No More, My Chemical Romance, Jane’s Addiction and more. US dates follow in March with The Builders and the Butchers and Zechs Marquise supporting.

Mandala: few titles are as perfectly befitting an album for a band reaching the culmination of a decade-long musical transformation. With this recording, RX Bandits have truly struck the essence of their merging of genres into a complete and masterfully detailed mosaic. Check out the MP3 for the single, “My Lonesome Only Friend” HERE.

RX Bandits – Australia / Soundwave Festival

02/20 Brisbane, AU @ RNA Showgrounds

02/21 Sydney, AU @ Eastern Creek Raceway

02/23 Randwick, AU @ UNSW Roundhouse *

02/25 Melbourne, AU @ Palace Theater *

02/26 Melbourne, AU @ Royal Melbourne Showgrounds

02/27 Adelaide, AU @ Bonython Park Oval

03/01 Perth, AU @ Bassendean Oval

* Side Shows w/ Sunny Day Real Estate, Motion City Soundtrack, Glassjaw

RX Bandits / The Builders And The Butchers / Zechs Marquise

03/09 Tempe, AZ @ Marquee Theatre

03/10 Tucson, AZ @ Club Congress

03/12 Dallas, TX @ Granada Theatre

03/13 San Antonio, TX @ White Rabbit

03/14 Austin, TX @ Emo’s

03/16 New Orleans, LA @ House of Blues

03/18 Ft. Lauderdale, FL @ Culture Room

03/19 Orlando, FL @ The Social

03/20 Orlando, FL @ The Social

03/21 Atlanta, GA @ The Masquerade

03/23 Carrboro, NC @ Cat’s Cradle

03/24 Washington D.C. @ Rock and Roll Hotel

03/25 New York, NY @ The Gramercy Theatre

03/26 New York, NY @ The Gramercy Theatre

03/27 New York, NY @ The Gramercy Theatre

03/28 Philadelphia, PA @ The TLA

03/29 New Haven, CT @ Toad’s Place

03/30 Allston, MA @ Harper’s Ferry *

03/31 Allston, MA @ Harper’s Ferry

04/01 Montreal, QC @ Underworld

04/02 Toronto, ON @ The Mod Club

04/03 Detroit, MI @ Magic Stick

04/04 Chicago, IL @ The Bottom Lounge

04/05 Milwaukee, WI @ Turner Hall

04/06 Minneapolis, MN @ Triple Rock Social Club

04/08 Denver, CO @ The Marquis Theatre

04/09 Salt Lake City, UT @ In The Venue

04/10 Boise, ID @ The Venue

04/11 Seattle, WA @ El Corazon

04/12 Portland, OR @ Hawthorne Theatre

04/14 Orangevale, CA @ The Boardwalk

04/15 San Francisco, CA @ Slim’s

04/23 Pomona, CA @ The Glass House *

* Without The Builders And The Butchers

RX Bandits online:

http://www.rxbandits.com

http://www.myspace.com/rxbandits

Slow Six – Tomorrow Becomes You

Rock bands with a jones for classical music are nothing new to us; ever since the Beatles set aside their guitars to make room for the string octets on “Yesterday” and “Eleanor Rigby,” popular music has flirted with – and in some cases, gone head over heels for – the sounds of Mozart and Beethoven. Yet whether your point of reference is Jimmy Page sawing through the strings of his Gibson Les Paul with a cello bow during a Led Zeppelin concert, the symphonic orchestrations of Pink Floyd’s The Wall, or even the baroque pop stylings of the Arcade Fire (complete with glockenspiel, French horn, and harp), it is an irrefutable fact that all these acts are firmly ensconced within the parameters of rock and roll.

Indeed, few artists of the past fifty years have been able to split themselves equally between the realms classical and popular music. Michael Kamen was the rare example of a musician who was at home in both camps; dude could play an oboe or conduct an orchestra like nobody’s business, but he made a name for himself writing and arranging tunes for groups like Metallica, Tom Petty, and Rush. Brian Eno, whose pioneering ambient music was largely inspired by classical minimalists Steve Reich and Terry Riley, is another standout. Yet how many bands in existence today can lay claim to being genuine crossover artists – those rare performers whose musical prowess with guitars and violins is delivered with such aplomb that you can’t justifiably pigeonhole it by categorizing it as one genre or the other? Are you listening to a guitar solo, or is it a cadenza? Are these songwriters, or composers? Curiosities like these would clearly be out of context in most popular music circles, but they’d be part of an apt line of questioning for New York’s Slow Six, a five-piece collective whose mesmerizing experimental music is a true classical/rock mashup.

With software engineer/violinist/composer Christopher Tignor leading the pack, Slow Six’s third album – and the first for the Western Vinyl label – finds the group flirting more openly with the pop/rock side of their sound. Though they are wont to rock out in shimmering bits of euphoria, make no mistake: Tomorrow Becomes You demands the same attention to detail and patience that classical music aficionados know so well when taking in a symphony. A fetching mixture of intense atmosphere, crisscrossing rhythms, and swooning melodic fragments, it’s like splicing Danny Carey’s drum work on your favorite Tool record with the most sublime moments from the compositions of Debussy, Satie, and Reich.

Opening cut “The Night You Left New York” is a multi-faceted collection of timbres that incorporates electronic pings, raucous percussion, and hushed drones. A wistful, nostalgic opening of understated guitar harmonics and frosty string harmonies gives way to a more urgent groove propelled by Theo Metz’s bombastic drumming and the cyclical violin rhythms of Tignor and Ben Lively. “Cloud Cover” is a two-part epic that begins with the violins seesawing back and forth on an incessant sequence of four pitches that is contrasted by the slow moving harmonies of Rob Collins (Fender Rhodes) and Stephen Griesgraber (guitar); it takes nearly three minutes to sense any sort of harmonic motion. The track’s later half is a more subdued affair, noticeably absent of pulse and any discordant flourishes. In their place are occasional radio transmission samples that recall A Silver Mt. Zion and layers of overlapping violin harmonies. Not unlike the early ambient projects of Brian Eno, the song suggests a spacious and pastoral setting, where the descending string tones and dense voicings of the Rhodes have freedom to roam.

The album’s biggest curveball comes in the form of “Sympathetic Response System.” Another doubleheader, the track’s bent toward dark electronica is a welcome shock after so many songs that highlight acoustic textures. With seething synths and one of the finest odd meter drum grooves you’re likely to hear this year, the tune would work just as well as an old b-side by Aphex Twin or Nine Inch Nails. The epic’s second half feels like the come down after a night of heavy partying as slowly chiming guitar chords and the lonely moan of two violins playing in harmony drudge along.

Tomorrow Becomes You may not have the immediate appeal of more mainstream indie fare, but then again, that’s often what has kept classical music sidelined as a music for aesthetes, academics, and snobs. This record may seem like a daunting listen, but you need not be versed in mixed meter time signatures and melodic counterpoint to get the drift. Closing track “These Rivers Between Us” will be an exhilarating experience regardless, as will the rest of Slow Six’s songs – pardon me – compositions.

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