Feist – Metals

During her days with Broken Social Scene, Leslie Feist’s voice was the brilliant change of pace, change of tone, change of breathy beauty that gorgeously delivered magnificent moments. The band was at its finest when everyone’s singular traits were called upon for equally singular moments that couldn’t be matched by anyone else. Feist’s vocals – her delivery, her channeling of great vocalists, her unique attack and release – were always intriguing, let alone beguiling. On The Reminder she flashed stellar muscle with solid songwriting and now on Metals the Canadian singer-songwriter may have just created her best album to date.

The point of Broken Social Scene and Feist’s latest album is the way her voice is able to, finally for some, find a lush orchestration to match its own distinctively great flavor. While Feist’s voice isn’t nearly as outlandish as some of her counterparts, it’s definitely a beautiful blend of aesthetic wonders and with songs like “7/4 Shoreline,” she was able to get wrapped up in the blissful blend of instruments around her. While The Reminder had songs with subtle touches like “I Feel It All,” on Metals Feist combines the sublime magic of her voice with songs that feature equally strong compositions to render an album that is easily one of the best of the year.

Here the music that Feist has crafted is defined by its ability at constructing driving chords of amazing composure. On “Caught A Long Wind” the piano is able to lie underneath Feist’s voice as she sings about growing old and moving into a cold, frigid territory; while the music adds layers of texture around her, the same swirling melody encompasses the walls of the song. Although one of the most amazing moments of the album has just passed (“Graveyard”), there’s a fantastic fusion of music happening throughout. There’s percussion and there’s also the unsettling strings that support Feist’s voice as it ranges from highs to lows with calming ease. She seems to channel everyone from PJ Harvey to Christine McVie to Kate Bush with decisive proficiency. And speaking of the aforementioned song, on “Graveyard” the masterful concoction of the sounds and how the melody is foreshadowed in Feist’s lulling tones before the choir of bellows comes at the end is something to behold.

What beyond doubt makes everything on the album resonate with deep impact is Feist’s stunning vocals. Sincerely poignant and dynamically full of range, it’s definitely her voice that commands the most attention and thus, is the true star of the show. On “Woe Be” she backs her own leading melody with harmonies sung by her voice and backed by a sole lonely guitar, Feist’s careful cadence and strong presence creates a chilling sense. But even at her quietest, the ensuing “Comfort Me” shakes the balance up with mesmerizing, choir-like chants that well, comfort, with soothing tones. Songs take shape around her leading lines and sometimes the melody swells into soaring heights through the skillful composure of the vocals.

For some, Feist hasn’t sounded this good in a while, for others, she sounds the best we’ve ever heard her. On “Graveyard” she sings “Bring them all back to life,” with such amazing fortitude and as the music travels through the instrumental breakdown, it serves as one of Metals’ defining moments. The song is decorated well – horns and voice in discord and dissonant moods before the pounding drums lead to an exceptional breakthrough – all the ghosts she’s channeling have certainly come back to life.

Arts & Crafts

New album from Thavius Beck

Thavius Beck – Amber Embers Volume 1

Thavius Beck gives his fans their first recorded taste of the minimal, hard-hitting, and dance-centric version of his music that’s previously only been displayed in his DJ sets at clubs around the world with Amber Embers Volume 1. Atop a chopped and buried vocal sample, “In Excess” harkens to the early days of Detroit techno with its handclap-propelled beat and disorienting synth tone. Over a funky, progressive bass line, “En Route” subverts a well-worn James Brown vocal loop and a crystalline, spiraling arpeggio into a final product that’s downright menacing. “Prague to Dresden Train Delay” is a slow burner that segues from cutups into a pulsing and uplifting section of sawtooth synths. “Thavihaus” evokes German-style minimalism reminiscent of the tech-house for which German label Kompakt is famous. The Amber Embers series brings a welcome perspective on the nuances of Thavius Beck’s sound.

http://soundcloud.com/mushrecords/thavius-beck-in-excess

Flare Acoustic Arts League – Big Top/Encore EP2

L D Behgtol was and perhaps still is a prominent member of The Magnetic Fields, a band whose unique and irreverent take on alt. folk has, in some opinions, made them the most influential acoustic practitioners of recent decades. It took something to make banjos really sound cool but The Magnetic Fields, with their gently crafted, wistfully romantic tunes and slyly abrasive lyrical twists, did just that and made it sound like the most natural thing in the world. Why hadn’t anyone really done it like that before, I would ponder, when flicking through the array of tales of desire, longing, despair and triumph that constitute the ’69 Love Songs’ album. Really, it felt like a privilege to share the same gravitational forces let alone sounds that L D Beghtol and his seemingly elusive co-creators were making, and that album contains at least 15 songs which I can without a shred of irony describe as classics.

So, while you may detect an element of bias in this particular review – The Magnetic Fields being a band whose adherents will drop practically everything for at the merest hint of their name – I’ve chosen against just quoting the inspirational press release, quoting the words ‘Magnetic Fields’ and just leaving the review right there, safe in the knowledge that anyone else who recognises the name will automatically rush off to their nearest CD supplier and probably buy several copies of anything that’s even vaguely Fields-related. I’ve braced myself, girded my loins, gone the whole hog and actually listened to the CD, while reading the effusive accompanying press release which lists some of L D Beghtol’s collaborators – other Magnetic Fields members such as Dana Kletter, Jon De Rosa from Aarktica, cellist Julia Kent, Sparklehorse’s Kendall Jane Meade and somewhere amongst the ten tracks on what is in fact a re-release of two Flare Acoustic Arts League EPs accordionist Daniel Handler, also known as children’s author Lemony Snicket. Talk about eclectic.

So, what do the songs on Encore/Big Top actually sound like? The answer is really a lot like those of The Magnetic Fields, but in a radically different format. There are numerous similarities in the song structures, the tones of the instrumentation and of course the vocals but it’s a very different band, one whose overall sound is that of a more conventional indie band – something very like the Dandy Warhols was my first impression, or Inspiral Carpets, even Blondie when Dana Kletter takes on the vocals. Blondie never sang a song that contained quite as much barbed venom as “Hideous Ethnic Stereotype” though, and it’s tribute to the skills of everyone involved here that they can carry off such vitriolc sentiments without losing the elements of charm and wry humour that were the notable trademarks of the Magnetic Fields and indeed of Flare Acoustic Arts League. “Last Clown Standing” is a blistering put-down to some unnamed protagonist and exactly what he or she has done to inspire the lyric is left perhaps understandably unspoken: ‘it doesn’t do to dwell / on tales too sad to tell’ runs the vocal over a swirling farfisa riff and nervy guitar that belie the archness of the vocal phrasing.

“Scenario” is perhaps the one song on Encore/Big Top‘ that is most reminiscent of The Magnetic Fields. Enlivened with a brightly played trumpet and a gleefully nasty lyric : ‘it’s only fair to warn you/ don’t look inside the fridge’ is surely the death knell for any relationship, and as memorable a couplet as anything I’ve heard from what is one of the most remarkable canons of songwriting in recent times. Final track “Geography Cure” is a markedly downbeat conclusion to this collection of two EPs that works seamlessly as a complete album, until it develops an added rhythmic build up that’s accompanied by sitar and the song breaks up into a squall of electronics and feedback. One thing about Flare Acoustic Arts League is their refusal to replicate what, they must know, are some very succesful formulas for darkly humourous alt.pop, and hearing musicians as capable as these continuing to explore their abilities makes Encore/Big Top a very rewarding listen inded. We should thank L D Beghtol, Dana Kletter, Lemony Snicket and everyone else involved in Flare Acoustic Arts League for sharing these skilfully realised and memorably crafted songs with us.

www.affairsoftheheart.de

Wizard – Of Wariwulfs And Bluotvarwes

For over twenty years German heavy metalers Wizard have been creating rock sounds that have been eagerly devoured by their homeland and rock fans further afield even if they have never quite reached the top levels of recognition and acclaim. Though not a fan of classic rock in general and with much knowledge of the band’s previous recorded work, it is impossible not to respect their musical ability and the thoroughly professional sounds that stir without causing eruptions within the senses. One gets the impression you know what you will get with each and every album from the quintet – and that is consistent and well written music even if it is not ground breaking or particularly adventurous.

Formed by the still existing band members, vocalist Sven D’Anna, bassist Volker Leson, drummer Sören van Heek, and guitarist Michael Maass, Wizard with Dano Boland in its ranks, release their ninth album Of Wariwulfs And Bluotvarwes via Massacre Records, bringing more songs about legendary demons and horrors for their fans to feast upon.  Vibrant melodies with guitar solos and play rising upon waves of imposing and challenging riffs is the flavour throughout the album and one feels if already a fan of classic rock/hard rock and the likes of Manowar and Judas Priest then this album will tick all the boxes. For others there are certainly moments and parts that grab the attention even if not sustaining the momentum for long.

Lyrically the songs have taken inspiration from the works of author André Wiesler and his historical horror trilogy Die Chroniken des Hagen von Stein, departing from their Norse themes from before. There is also a dark humour running throughout that adds to the lyrics and feel of the songs, a tongue firmly in the cheek on many occasions.

The songs are reasonably varied though still retain an overall similarity across the album which is fine if not particularly inspiring when looking for new avenues from the band to explore. The title track opens the album to great strength and power. From the opening ripples the drums of van Heek shine as they pummel the ears and deeper.  The whole album shows him to be a drummer of great skill and energy, and alongside the deep basslines of Leson the duo gives the intensity to the songs that keeps one involved if not won over.

Riffage wise the band cannot be faulted, driving and challenging they are often relentless and generally very agreeable, especially on the likes of “Undead Insanity” and “Heart Eater”, the latter of the two menacing with the taunting riffs and melodic guitars beckoning.  “Wariwulf” and “Hagr” both show Leson at his best, the growling bass tone and predatory riffs from him gloriously energize the more standard but satisfying guitar play and vocals.

As an album, Of Wariwulfs And Bluotvarwes is agreeable enough and for fans of the band and the early classic rock it will play with deeper pleasure and impression than for those preferring much darker and harsher sounds. Over the years Wizard have proven themselves to be a very good and reliable creators of rock music and this release certainly does not offer any negativity to that fact. It just lacks the originality and aggression of other preferred genres for this reviewer, but for the few listens given to it there was a fair amount of enjoyment if not an invitation to return any further.

Link to TV debut of Lana Del Rey

Lana Del Rey’s ‘Video Games’ single has climbed to the top of iTunes charts worldwide. Since its release, ‘Video Games’ reached the #10 spot on the Main chart and #3 on the Pop chart in the U.S., and has also ranked #1 in 9 countries, including Australia, France, Norway and Holland. The single is Top 10 in Sweden, Spain and Italy.

Lana Del Rey recently made her TV debut on ‘Later With Jools Holland’ performing “Video Games” accompanied by piano and a string section. Watch the performance here: http://youtu.be/IOP2Yd_jpYQ

“Video Games” on YouTube:
http://www.youtube.com/watch?v=HO1OV5B_JDw

“Blue Jeans” on YouTube:
http://www.youtube.com/watch?v=8t-I-Lqy06g

Lana Del Rey on the web:
https://www.facebook.com/lanadelrey
http://twitter.com/#!/lanadelrey
http://www.lanadelrey.com

Ladies Auxiliary – On the Shadow

Ah, the curse of the sophomore album.  Performers, critics, and fans alike are all keenly aware of the pressure that often plagues musicians with the follow-up to an inspired debut.  Apply too much creative zeal in your chrysalis, and you’re likely to be flogged by listeners for circumvention – those who fell for MGMT’s surging synthpop on Oracular Spectacular and were then left beguiled by the retro prog-rock of Congratulations know this story well.  If, on the other hand, you merely reproduce the formula that turned heads in the first place, then you’re derided as a talentless mercenary, cashing in before the ephemeral glow of your success dissipates for good.  It’s a cruel world, indeed.

Luckily, Colin Pate and his Philly band Ladies Auxiliary need not concern themselves with the quandaries addressed above; the group strikes that elusive balance of the familiar and the vanguard on its expansive new album, On the Shadow.  It also probably goes without saying that Ladies Auxiliary has, for the moment, not acquired the notoriety of an MGMT or a Fleet Foxes – not yet, anyway.

All of the hallmarks of the Ladies’ summer 2011 debut are still intact on this latest LP; there’s nary a song without a showcase of pedal steel, vibraphone, scrappy drum machines, or the economical timbres of a Casio keyboard.  The record is also infused with lavish amounts of vocal harmonies and reverb that lend several of the songs a mild modicum 1960s West Coast nostalgia, not unlike the aesthetic being touted by acts such as Best Coast and Wavves.  And yet for all of its familiarity, On the Shadow is a very disparate record from My Side of the Mountain; the song structures are less concise, the atmospheres are more opaque, and the hooks display greater immediacy.  The result is a 10-song cycle that champions both hook-laden melodicism and psychedelic meandering.  In its finest moments, the album is a halcyon union of ragged alt-country and Beach Boys-inspired California pop.

Opening track “Mysterious House” doesn’t really hint at the enterprising flourish proffered by later tracks – this one’s all woozy pedal steel guitar licks, breezy keyboard harmonies, and gauzy falsetto vocals.  Then comes “Another Chance,” which boasts everything from Fleet Foxes-approved vocal harmonizations to mallet percussion melodies that could’ve been among the tossed off clips from the Beach Boys’ Smile sessions.  The first of many songs to explore roomier sonic terrain, “Another Chance” dials down the rhythmic energy to make way for texture, where pulsing keyboard drones and scattered percussion fragments can float through the ether.  Though not quite as bombastic as a Flaming Lips track, this song does share that band’s penchant for blurry psychedelia, where strains of a harp ripple across the mix and singer Colin Pate’s lyrics (“C’mon c’mon / watch all the sutures dissolve”) encourage the hypnotic milieu.

“Break His Maiden” is another early standout cut, with wordless vocals and icy percussion timbres that make themselves fitting companions for the abundant blues riffs and acoustic guitar strums.  Alternately anxious and assuaged, the song deftly displays how to manage ambiences that veer from spectral to comforting.  “Girl from Rock Hill” is notably the first track to draw attention to the rhythm section, where a propulsive bass groove provides the foundation for cyclical guitar hooks, and coalescing lap steel lines.  Set in a minor key, the compositions is both pensive and beckoning, sentiments only enhanced by Pate’s lyrics (“You let me pretend that I was dancing”) and a grating tremolo effect on the keyboards.  “There’s a Cure” takes a step further away from the Americana and alt-country the band continuously flirted with throughout My Side of the Mountain, eschewing acoustic predilections for an unrelenting club groove and rumbling bass – the urban swagger is palpable.

At nearly seven minutes, “Darryl” is perhaps the most rewarding example of Ladies Auxiliary’s recent advancements in songwriting.  Sprawled across seven minutes, the structure doesn’t even begin to materialize until the track is nearly 25% over, when looping guitar countermelodies begin to intertwine with the grinding keyboard drones and Tom Scheponik’s twinkling vibe patterns.  To their credit, the band completely staves off any catharsis that is naturally implied by the incessant drum machine clatter and electronic thrum; release is never fully realized.  True to the claims of the Ladies’ press release, “Darryl” exudes a subtle Eno influence, where undulating textures are repetitively applied to generate something more like a soundscape than a song.  Obviously attuned to the importance of track sequencing, the group finally allows for respite on “I Haven’t Been,” where a Chris Martin-styled piano elegy eventually forms into a soporific amalgam of harp arpeggios and yawning slide guitar harmonies.

The hasty release of On the Shadow caught Ladies Auxiliary by surprise; what began as a few new tracks had unsuspectingly mutated into a full album by summer’s end.  Hearing such progress from this act in just a matter of months is almost as gratifying as the record itself.  If Ladies Auxiliary keeps moving at this pace, they’ll never have to worry about a slump.

Yojimbo Billions Announce New Record

“Collapsed, Unloaded”:

http://waagarecords.com/tracks/YojimboBillions-CollapsedUnloaded.mp3

Yojimbo Billions (born Zach Vogt) is an electronic musician from Phoenix, Arizona. As a child, he studied piano, alto saxophone and electric bass; he would study music theory in college and work as a jazz musician before moving on to other pursuits. In 2009, after spending most of the decade trying to get short stories into McSweeney’s, Vogt claims he was visited by a robot named Sabi Kun. “He told me I had been wasting my life with words,” Vogt recalls, “and that the only language with which I could truly communicate was musical, the highest language of our species.” Using the computer as a compositional tool was an easy decision. “With a computer, your sound palette is unlimited. Every sound ever recorded is at your command.” The name was stolen from Vogt’s cat, who himself stole it from Akira Kurosawa and Toshiro Mifune.

His new record Our Bodies Are Machines is out now via Waaga.

Our Bodies Are Machines pre-order link: http://lefserecords.bigcartel.com/product/yojimbo-billions-our-bodies-are-machines-cd-pre-order

Zola Jesus – Conatus

When pursuing hopes and desires, many dream about being able to accomplish great feats. Somewhere in the world of music rides a special feeling of desire where musicians are able to connect and channel amazing works. For Zola Jesus’ Nika Roza Danilova, music has only just begun and still, her craft appears like something most noticed on a seasoned veteran. Instead she’s a young, actively-improving, dexterous musician that creates strong, electronically-tinged music. Genuine and sincere, the music on her latest album, Conatus, is a terrific escape of towering choruses and refined musicianship.

At a fresh-faced 22-years-old, Danilova’s voice is an impressive sound to behold, in it of itself. The Russian-American singer/songwriter sounds confident and assured with every note sung and channeling everyone from Kate Bush to Lykke Li, her decisive nature is singularly felt. On “Vessel” she commands attention with a lulling cadence before exponentially growing with every passing pedal tone and through careful attention to flow, the song disrupts into a massive bellow of sound. And later, on “Seekir,” Danilova injects the song with a purposeful beat that employed with stunning pop sensibilities, is practically dancefloor-ready. Still, Danilova’s voice echoes with superb vocals that showcase range and flawless craft. Even through the music’s entire thumping beat, the songs capture a heartfelt assembly of fantastic songcraft.

Previous EPs fashioned a dynamic outfit of interestingly composed sounds and textures and with Conatus Danilova has distinctively delivered an album that both touches on the spectral side of her music, while enabling pop-driven hooks that propel with fluid skill. The music invigorates through Danilova’s stellar voice and how it directs the sounds through the misty matter with explosive presence. On “Avalanche” there is a creeping revealing of church-like vocals and with pounding, relentless drums, the song soars into a crash of white noise. Her voice is both powerfully evocative and grippingly affecting; the presence is a deeply substantial one.

There’s a versatile amount of flair spread out onto Conatus’ burly shoulders and Danilova offers songs that are both personally inspired, while still presenting remarkable songwriting brilliance. A song like “Skin,” left sparse with a twinkling piano line and shivering vocal chants, is effectively rendered through its bare exposure – like wearing nothing but the skin on your bones – and Danilova’s voice. There’s a rousing attention to spectral touches on Conatus and the music ends up feeling far more entrenched because of it. Whether it’s the opening strands of life with “Swords,” or “Hikikomori” and its stabbing synthesizers and wall of sound, Danilova fills the chambers of her music with tremendous aesthetics.

One can never be sure about what one’s intentions surely are but with artists that continue to improve and progress, there is no denying the intensive music Zola Jesus creates is definitely worthy. Danilova is a musician that sounds years ahead of her time and yet, she’s embracing all of her influences in crafting music that is exceptionally demonstrated. Conatus continues her roll with more astounding music that sounds better with each listen and during this day and age, what more could you ask for in an album?

Sacred Bones

Interview with Scott of Secret Shine

Hi Scott!  How are you doing these days?

I’m doing fine now after a horrid 2010 on many levels for most members of the band for different reasons, except of course the final days of the year  and releasing our new album.

Your latest album The Beginning And The End came out last December, on Christmas day no less, and I wanted to include it in DOA’s Best Albums of 2010, but there was no time to do that.  What was its release like?  Did you go out and promote it and play shows?

In typical Secret Shine fashion, it was a low-key release which is why we ironically released it on Christmas Day. In a way we were saying it doesn’t really matter when the record comes out for a band like us. We don’t have the time or spending power to invest in pushing and plugging. We know who likes us and people will still listen to it and hopefully enjoy it. I am proudest of all of this record. Although some people criticised some of the more gentle, meandering tracks – everything on this record was well thought about and constructed. Most of the songs are Jamie’s with the exception of a few that I did music for and I think it shows him as a great songwriter!

How would you compare your previous album All Of The Stars from 2008 to your newest?  I’ve reviewed both albums here at DOA and it seems to me like you branched out more on your latest, incorporating varied instrumentation and not just magnificently swirling and distorted guitars.

 All of the Stars was a more live album. At the time we were playing and rehearsing again, so lots of the songs were shaped in a rehearsal room. The Beginning and The End was written and recorded at a time when our drummer Richy Lee left the band, so Jamie and I were writing and recording straight into the computer. Jamie who produced it had also learnt lots more about recording, so it’s an altogether smoother sound. It suits the  songs which are more intricate and delicate (some exceptions!) and suits where we are now. All of the Stars sounds a little like an homage to our sound in the mid nineties which is no bad thing either.

What are you and your bandmates up to now?  Are you working on new material for another Secret Shine album, or maybe an EP?

We plan to release two new EPs next year using more experimental guitar sounds again. We’re slowly starting to write songs but we’re all quite busy in our non-music lives! We don’t need the pressure of another album just yet, but it’d be nice to try some new stuff in smaller chunks!

Speaking of EPs, I wanted to ask you about the reception to your Greater Than God EP that was released in 1994.  Was there any controversy over the EP’s title?  Who came up with the EP title and does it in any way reflect on the songs, or feelings about the songs?

The name Greater than God was actually something we came up with for the band that Jamie and I also wrote for, The Dreamscape. We were going to release two 7″ singles called Greater than God, parts one and two.  When The Dreamscape got into a contract tussle with the label we were on and it wasn’t going to happen, we decided to use this name for the Secret Shine record. I don’t know if the name reflected myself and Jamie’s lack of belief in the established notion of an all-seeing God and so became just an arbitrary statement for us. I may be putting words in mouths here – it’s a long time ago to remember. We didn’t get any negative feedback as I remember about the name. It was quite well received as a record by the critics.

Personally, I think your Greater Than God EP is a shining moment in your music catalog and actually eclipses your debut Untouched, which to me is a bit too muted.  Do you also feel that there is a difference between the EP and the album? 

At the time I thought it was miles better than anything else we’d done, but in hindsight it’s not as warm as cozy as Untouched. It’s quite digital in its sound and tighter. It’s similar to our move from All of the Stars to The Beginning and the End – the production and songwriting had definitely stepped up though. The only regret about the EP was that the wrong version of “Last Words” ended up on the record. We mixed a version without digital drums which I liked better. When we did our comeback gigs in the USA and Germany a few years ago, we played “Deep Thinker” and “Ignite the Air” again – they were still good to play. I don’t think we’d ever do “Liquid Indigo” again though.

I interviewed you here at DOA in 2007 (and also way back in 1996 (!) for my music fanzine Stratosphere) and you mentioned possibly working on an acoustic album.  Is this in the cards at some point

We did the acoustic tribute album Morris for charity when our drummer Tim died in 2005. In terms of an original acoustic album – no plans as yet, but we’ve played a couple of acoustic shows which have been fun.

Going back to my 1996 interview with you, and in a totally non-musical vein, both you and Jamie said one of your favorite films is Withnail and I, and when I interviewed Miki Berenyi of Lush around that time, she also said that was one of her faves.  I have it on VHS tape and also love it.  What is it that draws you to this film?

Yes, I still love it, but don’t watch it as much now. Jamie and I had just come out of living in student accommodation, so it reminded us of the dreams and disappointments, the squalor, the amount of hash, recreational drug-taking and boozing we came across. It’s still the best work that Richard E. Grant and Paul McGann have ever done and the scenes with Uncle Monty are totally hilarious. Great soundtrack too.

What bands/singers are you into at the moment?  I’m digging… Well, actually, I’ve been on a The Smiths kick for some reason.  Oh, and I’m enjoying Sarah Nixey’s latest album and Whirl (newer shoegazer-type band).

Can’t speak for Jamie, but I’m loving The National and The Horrors. I went to a folk festival recently too and realised how much I like traditional folk – all the shanty stuff as well, but seeing the brilliant Eliza Carthy band was the highlight for me.

Can you list your official site(s) where readers can find out more about Secret Shine and purchase your albums?  Thanks!

http://www.secretshine.co.uk/ and http://www.facebook.com/secretshine

Hey Marseilles – Elegy EP

It’s about time we heard something from Hey Marseilles, the Seattle chamber pop septet whose debut first dropped in December of 2008.  The band’s earnest orchestrations quickly became the toast of indie music’s glitterati, earning them coveted spots at CMJ, Bumbershoot, NPR, and even Starbucks.  To some, Hey Marseilles was merely a Decemberists paean stripped of the maritime obsessions and faux-Brit accents, but the group’s To Travels and Trunks was a formidable accomplishment unto itself – a record that soared on a winsome fusion of strings, brass, accordion, and singer Matt Bishop’s honeyed vocals.

Given our insatiable appetite for steadily administered morsels of information and the ease with which burgeoning artists can now deliver their product to a mass audience, it’s puzzling to think about why it took Hey Marseilles nearly three years to release their new Elegy EP.  Meant as a preview to a proper follow-up LP that’s slated for an early 2012 unveiling, Elegy is an extended player in name only.  It includes five tracks, but once you cast aside extraneous radio-edit and instrumental versions, the album boils down to ten and a half minutes of new material.  At first, the gesture smacks of record label bureaucracy, where artistic motivations take a backseat to fiscally minded PR reps. Elegy might’ve very well been intended as nothing more than a placeholder for the next Hey Marseilles LP, but fortunately, the group’s ace songwriting saves what would have otherwise been a hackneyed promotional tactic.

The title track’s chimerical potpourri of wordless vocals, wind instrument riffs, and lush string harmonies provides immediate testimony of why so many blogs and webzines began namedropping these guys back in 2009.  Teeming with sublime melodies and rhythmic energy, the moderately brisk waltz tune is both wistful and somber.  Sung with an innate balance of whimsy and vulnerability, Bishop’s lyrics never fail to captivate, particularly on lines like, “I love you for your wit / not for the shit / you spout in your dreams.”  Hardly a ribald affair by any measure, the song’s use of one obscenity still apparently warranted a FCC-friendly version.

“Café Lights” exudes some of the Parisian flare of Hey Marseilles’ first album, where accordion harmonies and dulcet acoustic guitar work deftly conjure imagery of al fresco dining and romantic strolls down city streets.  The track undergoes more permutations than its predecessor, with a stark introduction of bowed string harmonies and a unifying lyrical theme (“Make your way back home again / I am here still / these sideways streets are straight and true / by strain and will”) that gives way to the propulsive energy of the song’s middle third, where myriad instrumental timbres and melodies envelop the listener in a surging wave of sound.  “Café Lights” turns more urgent and incessant in its homestretch, perhaps indicating a renewed sense of purpose that is bound to carry over to the other cuts awaiting us on Hey Marseilles’ sophomore record.

Forking over some dough for this release might feel a little unwarranted, given the fact that the only two complete compositions on it are also likely to appear again on next spring’s long player.  Nonetheless, it’s hard to find any fault with the notion of giving up $5.00 for such a resplendent display of musicianship.  Those who do open up their wallets are bound to be experience nothing but contentment with their decision.  At least until springtime.

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