Fol Chen – Part II: The New December

The eclecticism of pop music has always been its best-suited aspect: a true, tested and long-lasting versatility that will only get better with time. Recently, more and more artists have begun to stretch its boundaries – digging and scratching through the tangled spectrum – and its umbrella is, along with its sister genre, electronic music, extremely far-reaching. And in such eclectic spirits, Fol Chen’s strikingly bold 2009 album, Part I: John Shade, Your Fortune’s Made, made use of all of those dimensions in the aforementioned spectrum to make a truly innovative album. It was the substantially fashionable freshness of it all: creative and traditionally sound.

Whether or not Part II: The New December is steadied and readied as an opportunity to cash in on winning success (they were featured in everything ranging as far as NPR and a video collaboration with the Laker Girls), this is another great compression of darkly layered pop and stellar IDM. “This is Where the Road Begins” sounds like a mix of the stomping drive of Muse’s latest works with a gloomy banging of tribal drums and synths bubbling in the water – the twist with the escalated keyboard and horn section that dies to a lonely ending is one of the album’s key points. But, in a nutshell, that’s exactly what Fol Chen’s music truly is: a mixture, a blend, a compilation of Earthly sounds that just happen to sound well with an equally colorful arrangement of pop music.

The static that precedes “The Holograms”’s radio-friendly vibes and keyboards are just enough dissention and darkness to confuse even the most casual listener. And throughout the song the band finds various ways of transitioning their tormenting styles and moods by way of addicting melodies and peculiarly-shaped backdrops. So much of the album’s music is so steeped into the known and unknown that you often wonder what exactly a burring machine has to do with a rich poppy riff; however, Fol Chen make it work.

Even when examining it all from the outside, most of the music feels a bit too safe for its own good. Then again, the day that music isn’t trying to be pleasing or enjoyable anymore, is a lost cause. “C/U” is where the sextet delves deepest into the frail funk and R&B they are definitely capable of and truly, it reigns. The beats are big and meaty and the chorus of soul-singers is a generous heaping of Motown-influenced bands. You end up falling for so many of the other choice cuts that you seemingly forget about “In Ruins”’s Asian hints, which also happens to features Kárin Tatoyan’s sweetly breathy vocals. It’d be even more impressive to see them take an even more experimental swing next time, too.

For where this section of Fol Chen’s music takes us, there really isn’t much of an answer to it. Part II: The New December is definitely a uniquely strange proportion of delicately presented music. The music revels in early 80s fare towards the end of the album and by then, it’s evidently clear how dynamic they really are. It’s the strength on their sophomore album, and a surprisingly strong one at that.

“In Ruins” by Fol Chen

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Asthmatic Kitty

I’m From Barcelona – Let Me Introduce My Friends

Two months after their second EP, Don’t Give Up On Your Dreams, Buddy!, Swedish pop band I’m From Barcelona (their name a clever homage to the inept character Manuel on the BBC’s hilarious 1975 comedy, Fawlty Towers) expanded those four tracks into their first full length album, Let Me Introduce My Friends. Best known for the twenty-nine band members they boast, you’ll hear a variety of instruments on this album from synthesizers and glockenspiels to pianos and tubas, not to mention clarinets, flutes, guitars and banjos. With all these people and instruments (not to mention the two tracks featuring Loney, Dear and Mathias Alrikson), the risk of chaotic divergences from too many contributing opinions seems imminent. Somehow, though, primary songwriter and lead vocalist Emanuel Lundgren keeps the group cohesive so that from one indie pop track to the next, the band’s sound is uniform—to the point where tracks seem indistinguishable.

Now don’t get me wrong, they’re catchy—but with their fast poppy pace, unrelenting cheer, and the glockenspiel’s chiming riffs, you look back on the album with the nagging sense that almost every track was a variation on the same tune. Lundgren also seems to revel in pop’s old love affair with nonsensical lyrics; you’ll hear the group singing everything from na na naas (“We’re From Barcelona”) to ba ba bahs (“Collection Of Stamps”). From track to track, their lyrics are never great and rarely even good. In “Chicken Pox”, Lundgren uses common childhood diseases typically not experienced twice—chicken pox, measles, scarlet fever—as a metaphor for love and heartbreak. If you think that sounds silly, I actually explained it more palatably than the song itself. If the composition were better, it’d be easier to overlook the lyrics, but with nothing presenting itself as stellar, unique, or even interesting, the metaphor seems stretched laughably thin. Lyrically, “Collection of Stamps” strikes out even worse. At least they used a literary device in the former song; here there’s no narrative, metaphor or higher theme. It is exactly what the title suggests. A meager song about a collection of stamps. Plenty from Poland, none from Sudan. Cool.

Unfortunately, I’m From Barcelona hasn’t quite got timing or order figured out–while some tracks seem short, abruptly cutting off instead of developing into fuller songs, others drag on. “Jenny” ends earlier than expected while “Treehouse,” an undeniably cute and catchy track, has me itching to hit next about fifty/sixty seconds from the end – perhaps because, like “Collection of Stamps,” the song is literally about a treehouse he built with no further detail; the what, why, where, how is apparently irrelevant. Meanwhile, “Barcelona Loves You” is a logical track to end on—catchy by itself, but also reminiscent enough of their stronger songs to leave you with a fond memory—and yet it’s second to last, followed by the short and seriously unimpressive “Saddest Lullaby” and its faster paced hidden track.

As a whole the album is a variety of things, not all of them flattering: poppy, cute, and fun but not serious. If you’re in the mood for feel good indie pop that doesn’t require too much of your focus while listening, then the saccharine-coated earnestness of their music—trying desperately, it feels at times, to convince you that, yes, they were all having a lot of fun while recording—is perfect. If you’re in the mood for anything serious, thoughtful, or inspired, move on.

Dolores

BUSSES – “Stationary”

Coming straight out of Philly, the three-piece band BUSSES released their self-titled album July 27th. The single “Stationary” encompasses an array of influences and styles that reflect a rather unique sound. These eclectic influences include 60’s/70’s classic rock, jazz, prog rock and punk. What makes this single truly special is the use of instrumentation, the provocative nature of the lead singer’s voice, and the use of timing.

The song begins with a solo guitar that has a clean tone with some jazz inflection but otherwise feels like its been plucked straight from the 60’s. Quickly following the introduction, the rhythm section enters the mix with a light jazzy beat that compliments the guitar and gives balance to the verses when the lead singer enters. His voice possess a very pure tone that accents and supports the lyrics and songwriting of this number. The verses provide a very laid back and smooth style that is easy to listen to. However, more intrigue comes from the chorus where the band is only using beat one giving a stop-time feel that tricks the listener into feeling free of time.

Though the verses and choruses are catchy and easy to listen to the true uniqueness of this song comes in the instrumental that leads to the ending verse.  This is where a layered guitar solo starts to get a way from the clean cut bluesy tone that has been heard the entire song and moves into a distorted guitar which builds in intensity and speed with the drums. Finally, at the moment of climax all instruments drop out and all that is left is a airy sounding organ which nudges us back to the jazzy style verse. This time when we arrive at the verse segment the lead singer displays some versatility with an angelic falsetto in a interesting melodic line that catches the ear. Lastly, the band plays us out with a little more jamming!

Overall the song “Stationary” by BUSSES displays diversity in style and genre. The combination of jazz, classic rock, punk, prog, and others combined in an effortless and unique way make this an easy listening song that most music listeners would enjoy on their playlist.

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The Dø – North American Tour

09/07 – New York, Mercury Lounge
09/08 – Brooklyn, The Bell House
09/09 – Montreal, La Sala Rossa
09/10 – Quebec City, The Envol et Macadam Festival
09/11 – Toronto, The Mod Club
09/13 – Chicago, Schubas Tavern
09/14 – Minneapolis, 7th Street Entry
09/17 – Vancouver, Biltmore Cabaret
09/18 – Seattle, Crocodile Cafe
09/19 – Portland, Doug Fir Lounge
09/21 – San Francisco, Bottom of the Hill
09/22 – Los Angeles, The Troubadour

The Dø: After spending the past several months in their French studio working on a follow-up to their much lauded debut A Mouthful (Six Degrees), vocalist and guitarist Olivia Merilahti and multi-instrumentalist Dan Levy return to North American for a highly anticipated run of 12 tour dates, their first on this side of The Atlantic in nearly a year.

Already the first French act to score a #1 record in France with an album sung in English, The Dø run the full musical gamut. The duo deftly incorporate the melodic and vocal stylings of Romy Croft (The XX), the bouncy jangle of Camera Obscura, a touch of Charlotte Gainsbourg’s intimacy and wistful hints of balmy Tropicalia. This September, The Dø will provide the perfect soundtrack to those Indian Summer BBQ’s as you try to hold onto the last rays of September sun and fading August beach tans.

Listen: [mp3] “At Last”:

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New 7″ from music video? out now

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[ MP3]

…music video? grew out of the collaborative and vibrant music scene in Tucson, AZ, where the desert heat melts styles and genres together in creative ways. Voted Tucson’s best electronic band for five years running, …music video? strives to blur the line that separates noise from pop. Songwriter/keyboardist Paul Jenkins, producer Wes McCanse and multi-instrumentalist J. Lugo Miller blend melodies with electronic beats, controlled chaos, and the best of countless genres.   They have self-released two critically-acclaimed albums (2004’s Fireproof Your TV , and 2007’s Now That My TV Has Wings I’ll Never Be Lonely ), been a featured band on NPR, and performed an official showcase at the 2009 SXSW festival.

“I’m Afraid Of Everything” b/w “feelgooddesperation” is a glimpse into …music video?’s future, where the alluring voice of Paul Jenkins and a bangin’ backbeat relax on a bed of lush noise. “I’m Afraid Of Everything” hearkens back to a time when recorded music could only be heard with a needle on a record, where guitar chords wept, and where a slow jam could break someone’s heart. It’s an all-out groove, complete with harmonies and wah-wah that shimmers with the reflected light of a disco ball. “feelgooddesperation” is a remix/collaboration that juxtaposes the aptly-titled instrumental …music video? track “postrockfeelgoodsongofthemillenium” with the mournful lyrics of fellow Tucson band Musica Obscura ’s “Desperation.”   Piano and shifting, energetic noise blend with soulful vocals to create a haunting yet uplifting soundtrack for this new decade.

“I’m Afraid of Everything” shows the way Jenkins, McCanse, and Miller transfer the desert heat into cool harmonies and rhythms. If I’m Afraid of Everything is any indication, …music video? is headed fast toward a prominent place on permanent playlists everywhere— both the one inside your head and the ones outside.

Christopher Willits – Tiger Flower Circle Sun

Guitarist, improviser, multimedia artist, and software aficionado Christopher Willits has returned with a follow up to his 2006 album Surf Boundaries. That album took his experimental guitar processing techniques, which up to that point were usually pretty if somewhat small and academic sounding, and developed expansive structures and environments which included other instrumentation and sounds sources. These rode the boundaries of widescreen pop, microscopically glitchy electro, and grand ambient washes, colored with 5-part harmony vocals, slappy trap kits, and breathy drones. Together, they beamed a vibe of jubilant meditation, and that vibe continues on Tiger Flower Circle Sun, an album inspired by Willits’ belief in universal connectivity and oneness.

Although the sounds Willits uses still pop with vibrancy and immediacy, this time out the pop quotient is reduced in favor of more deliberate meditation and exploration – the album sounds less composed and more flowing. Willits talks about how the music tells him what to do more than the other way around, especially with respect to his live performance, and with this new batch of tracks he really seems to get out of the way, reducing the ego input and allowing each piece to bloom at its own pace. Even “Sun Body”, the poppiest piece here with its crisp trap-kit and insistent patterns, never panders to over-the-top catchiness, instead just putting its head down and plowing forward with confidence.

Willits’ guitar-folding technique (jumbling of melodic content according to mathematically precise paramaters supplied by custom-built software patches and plugins), which sounds alternately like a singing copy machine, a fidgety robot, and a runaway snowball, yields not only blissfully ricocheting melodies, but also provides rhythmic peculiarities that end up making this music feel alive – steady knocking and staccato pinging that suggest natural processes, calling to mind cyclical biological systems (“Green Faces”), a woodpecker amid its larger ecosystem (“You Are Always Surrounded by Stars”), or stages in development (“Plant Body”). Willits ventures into Reichian minimalism on “New Life” and “The Hands Connect to the Heart”, two pieces which act as a bit of a hinge for the album – separating the more vigorous first half from the more tranquil second half with a spot of seriousness.

For Willits, there is meaning in the process itself, which is a representation of reality unstuck in time, like lighting up nodes on a constantly vibrating net that exists in opposition to the granularity and separateness of time’s arrow. But for all the attention paid to process, many of the more memorable moments on the album include the human element running counter to the software-based structures. “Uplifting the Streets” finds a buzzy guitar phrasing a languid melody in continuous tone against a quick-glitching static. “Plant Body” has more low-end fuzz guitar riffing against the pop and echo of the main theme. “Light Into Branches” is a slowly translucent folk tune where Willits sings about life’s transformations of energy and vice versa. “Intend/Evolve” features gauzy vocal harmonies floating above a workmanlike rhythmic clatter. These glimpses of the recognizably human remind us of ourselves, and provide a perspective from which to see everything else. That the music isn’t centered around these moments is a reminder that humans are but one of many forces animating the system.

There is a breezy effervescence to all of Willits’ work which gleams on the surface and beckons the listener in – either for microscopic inspection or gale force immersion. People expecting more traditional songs will be disappointed, but those approaching with an open mind will walk away with their mind expanded. Even better than an expanded mind, these songs instill a feeling majestic peace. Not just an esthetic success, Willits also can score this as an artistic achievement. With only a few lyrics and song titles informing the music, Willits manages to get you to see the world the way he does – as an interconnected field of energy, vibrating with life.

Christopher Willits

Ghostly International

The Hepburns – How the Fallen Are Mighty

It’s always nice to put on a record that turns out to be unpredictable, even when the record in question isn’t necessarily a great one. Hearing a band work through a wide range of interests, whether it involves messing around with songform or new technologies or integrating disparate styles, is always welcome after so much music that hews close to chosen patterns. Not that predictability is always bad; sometimes I don’t want surprises, I want a band to work the angle they’ve mastered until the desire for whatever that angle might be is satisfied. But after enough of that, those surprises sure sound good again.

The Hepburns are a Welsh band of long-standing, with a discography that begins in the late 80s, lapses for a long while, then picks up again just as the century turns. Their brand of whimsical pop is always joyfully creative, witty and recorded without excessive polish or unnecessary professional sheen. And though How the Fallen Are Mighty might not be a great record exactly, it does have the unpredictability of a smart and pop-hungry band doing whatever they feel like doing.

Part of the charm is in the delivery, whether it’s Matt Jones’ wobbly vocals (kinda like a pitchy David Gedge/Jon Langford of the Wedding Present and Mekons, respectively), the unfussy production or the band’s commitment to generous packaging with thick booklets filled with lyrics, song-by-song commentary and helpful Japanese translations of the same. More important is the Hepburns’ colorful mood throughout this material, including the TV-theme style introduction (“Vanishing Act”), the jazzy bounce of “Writer Friend,” and the goofy polka-beat “One More Notch on the Bedpost,” which, though nearly a Demento-type novelty, also has an irresistible fake-sitar-and-trumpet riff running throughout that adds just the right nutty element.

In a different vein, the band offers the portrait of “Ken Park: The Man, the Film,” which tells the story of the titular character over a slow set of dreamy chords – different mood, but still the same slightly ragged interpretation and unique lyrical slant. The record ends with two of the disc’s strongest songs, the lyrically sparse “Growing Old,” a hint of melancholy wedded to a driving beat and the Squeeze-like “Man Missing,” a slightly Rn’B grooved-up tune with a soft female chorus that proves the importance of the right arrangement, a skill that the Hepburns, for all their rough edges, have plenty of.

The Hepburns have remained steadfastly below the radar for a long time and the low-key charms of How the Fallen Are Mighty aren’t going to make much of a difference. But it’s comforting to know that in the face of widespread anonymity, some bands just go on and on and on, for the love of the creative process. Even better is when they do it as winningly as the Hepburns do here.

http://www.radiokhartoum.com/hepburns.htm

Short Takes on Three Albums

Smoke Fairies – Ghosts

V2 Records

http://smokefairies.com/

Smoke Fairies is the London-based duo of Katherine Blamire and Jessica Davies and the U.S.-only release Ghosts compiles their first two singles and an EP into a 9-song disc of hauntingly stark and beautiful noir alt-folk tunes that revolve around the gals’ ethereal to earthy dual harmonies.  Before and during the formation of Smoke Fairies, Katherine and Jessica traveled from their native U.K. to New Orleans and Vancouver, and then back to the U.K., playing gigs, writing songs, and biding time in various bands.

Katherine and Jessica root their interweaving and mirroring harmonies in old-time-sounding, finger-picked acoustic and slide guitar lines, evoking images of both lonesome Western prairies and crumbling Medieval castles.  A spiderweb guitar line is picked out on “Fences” with occasional antique piano notes following the guitar’s pattern, as plainer, upfront vocals are contrasted with supporting vocals that float in the ether as Katherine (or is it Jessica?) sings forlornly “I don’t want to be bad anymore.” and “Life is just a series of stumbles and falls.”  A slowly loping pace created by the light thump of drums and circling guitar line build a low-key tension on “Frozen Heart”, with Katherine and Jessica harmonizing in an operatic tenor that “…they’ll soon find out the coldness winter brings.”

Harmonica pulls at the start of the spare “He’s Moving On” capture the Americana aspect of the song, along with the interplay of acoustic and slide guitars and Katherine and Jessica’s stark, clear, intertwining vocal layers on the chorus.  “Living with Ghosts” recalls the guitars of Chris Wittingham of Ruby Throat in their bluesy refrain as shadowy vocals opine melancholically “It can get lonely living with ghosts…”, while a vespertine vibe emanates from “Troubles”, which also employs ominous slide guitar lines, drum thump, and plaintive vocals.  On “Sunshine” Katherine and Jessica go for a more emotive, classical vocal tone and even use a bit of rock guitar grind against a cymbal-tap tempo.  Katherine and Jessica bring their rich, achingly bittersweet vocals to the fore on “We Had Lost Our Minds” amid slow pulls of cello.

Villagers – Becoming A Jackal

Domino Records

http://www.wearevillagers.com/

Becoming A Jackal , the debut album from Dublin, Ireland-based, one-man band Villagers has been out since June on Domino Records.  Frontman Conor O’Brien, who also plays nearly all the instruments on the album, is of the traditional singer-songwriter mold, conveying story-telling songs about relationships and life with heartfelt ease.  Conor’s vocals are delivered in a soft-spoken, sing-talking manner, while the guitar-based, lyrics-centered songs alternate between briskly-paced numbers and slower laments.  Conor’s vocals come off like Brandon Reilly of the band Nightmare Of You, but with less twisty sharpness and zest.

For all the critical praise heaped upon Mercury Prize-nominated Villagers and Becoming A Jackal, the album doesn’t leave much of an impact.  While it doesn’t grate, it’s too sedate, offering up songs of lyrical despair and wit that isn’t matched by the muted instrumentation or subtle vocal delivery.  The song structures and calm vocals are too pleasant for the heart-broken and dispirited lyrics, and they flow by like a refined, unobtrusive stream that hides its rough rocks under the surface.

Lead single “I Saw the Dead” is perhaps the best of the bunch with its swells of bittersweet strings, flowing cascades of piano notes, starry tinkling notes, and Conor sounding like he’s in a dream state, quietly sing-talking in an unruffled voice “It feels like I’m changing / keep forgetting my way / so I asked a …stranger / but he led me astray.”  The title song has picked acoustic guitar playing against Conor’s sincere tone as he murmurs “I was a dreamer / staring out windows…”  Conor’s vocals and lyrics are always in the spotlight and never more so than on “The Meaning of the Ritual” where he sings with a yearning tremble amid mourning horns and somberly pulled strings that “My love is selfish / and it cares not who it hurts / and I bet that yours is too / What is this peculiar word called truth?”

Muffled vocals fill in the sonic backdrop of “Home”, with strummed guitar, soft cymbal shimmer, brushed drums, and Conor admitting “I don’t want to take this trip alone.”  The up-tempo nature of “The Pact (I’ll be Your Fever)” is refreshing, including Conor’s sing-song vocal delivery, while his seriously bereft mood and higher vocal range are put to fine use on “Pieces”.

The Twilight Garden – A World We Pretend

Projekt Records

http://www.thetwilightgarden.com/

The artists on Projekt Records thrill with the chill or enthrall with the pall, but the songs on The Twilight Garden’s  (AKA Todd Loomis, formerly in Velvet Acid Christ) debut album, released this past February, are mainly lukewarm and pallid instead, suffering from a mid-tempo malaise that is neither dramatic, nor tragic.

The musical references are sound and the guitars and synths sonics are engaging as Todd segues from the deep organ synth notes and limpid The Cure-like guitar lines at the end of darkwave “I Am Echo” to the electronic blips on the synth-pop song “Dead Adults” to the Depeche Mode-like dark dance of “The Puppeteers”, but more intricacy and variation in song structures and tempos are needed to retain listener interest.  The similarity in sound (due to the constantly buzzing, sustained  synths) and ponderous pace of most songs becomes monotonous over an entire album.

Todd’s vocals are also a bit lightweight in comparison to the album’s goth and darkwave-shrouded, drawn-out sound.  A singer in the vein of Robert Smith, who can project sharp anguish, or Peter Murphy, who can dive into deep desolation, is crucial to convey the gravity of the music and lyrics.  On this album Todd alternates between Trent Renzor-like exclamations that sound too forced, a plainer, sing-talking tone that is not compelling, and an appealing, higher, yearning register that he employs to best effect on parts of “A-Wake” and “Delusions Of Us” where his vocals are airy and subdued, but still emotional, trailing off into echoes at the ends of phrases like “Nobody cares.”

There are a few killer lyrics scattered through the songs, like “We die by the stars in the sky…” from “A World We Pretend” and the “… lies in your eyes are so crystal clear.” on “The Puppeteers”, but they are blurred by borderline-sappy lines like “You turn my eyes into waterfalls.” on “Something Beautiful” and “World we pretend…blows my mind.” from the title song.

New Single from Holy Family

Holy Family Offers Up New Single
“Whatever There’s to Know”: http://bantermm.com/tracks/HolyFamily-WhateverTherestoKnow.mp3

Holy Family consists of three members from different parts of the Gothenburg region in Sweden. They started the band in the summer of 2009 with the goal to tour Eastern Europe. Initially, the band was only created to do this one tour and then resolve. They never actually reached Easter Europe but the band persisted. Later that year, during the economic crisis, they had trouble finding any work other than odd jobs and chose to start working more whole-heatedly with Holy Family. They found themselves getting more and more satisfied with the songs they made and felt that Holy Family was worth going in for. The band is currently cranking out numerous demos which will eventually become their first proper record.

Holy Family on MySpace: http://www.myspace.com/holyfamilymusic

New Album from Nice Purse out soon

Nice Purse Prep New Album Black Medal
“Heart Medley”: www.bantermm.com/tracks/NicePurse-HeartMedley.mp3

Nice Purse began as the brainchild of singer/songwriter France Camp. France was looking for better methods towards spare change and started “busking” around the Minneapolis Uptown area. After an extensive bout with covers, France eventually grew bored and started writing his own songs. France emailed a few of his tracks to his childhood friend Ian “Indian” Davis was instantly charmed by the passionate sounds France was creating. The duo soon signed up good friends Dylan and Elise to join them on their debut album Black Medal, Nice Purse is a blend of Violent Femmes and Bright Eyes, with a tiny bit of the Modern Lovers tossed in. Their songs are celebrations, often with their roots in tragedy.

Nice Purse’s songs seem to be wrought with equal amounts of insecurity and confidence. It is this mixture that makes France’s insights so poignant. Even if you’ve never loved and lost, France will pull at your heart strings and pull you into his lush musical world. Their new studio recording (to be released on the Minneapolis label, SoTM, August 10th) show a surprisingly mature side to the sounds of Nice Purse. There are more than brief moments of greatness on their debut album Black Medal.
Nice Purse on MySpace: http://www.myspace.com/pantherbolt

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