Posted by: Ryan Allen on October 29, 2008 at 12:50 pm
Deerhunter, Mircocastle (Kranky Records, 2008)
It’s bizarre to review an album that has been leaked for what seems like an eternity now, and one that has been available on iTunes, even, for at least a few months. But when you craft something as monumental and mesmerizing as Deerhunter’s Microcastle, it’s hard to just ignore it as if it’s old news.
Certainly, by now, we’re all pretty familiar with Deerhunter’s story: Lead singer and resident minor-celebrity Bradford Cox is a lanky, humorous, effeminate, outspoken, blog-addicted, songwriting machine. Besides his well-received output with Deerhunter (including the much hyped Cryptograms and Fluorescent Grey EP), he has pumped out loads of stuff under his own Atlas Sound moniker, including the material released on last year’s Let The Blind Lead Those Who Can See But Cannot Feel, and the musical treats he consistently Read more
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Tags: Atlas Sound, Bradford Cox, Cryptograms, Deerhunter, Fluorescent Grey, Let The Blind Lead Those Who Can See But Cannot Feel, Microcastle
Posted by: Ryan Allen on October 23, 2008 at 10:00 am
Of Montreal, Skeletal Lamping (Polyvinyl, 2008)
MP3: “Id Engager”
Kevin Barnes must be a terribly difficult man to love. He laid out his case with last year’s psych pop masterpiece Hissing Fauna, Are You The Destroyer?, a record that explored an extraordinarily dark period in his life including nervous breakdowns, suicidal tendencies, chemical imbalance, freaking out after his daughter’s birth and a period of bleak self-isolation in Norway. With Skeletal Lamping, Barnes continues his confessional trend by attempting to let listeners into the darkest corners of his mind. The results are jarringly erratic, emotionally unbalanced and impossible to predict –- which is to say Skeletal Lamping could go by the alternate title, A Tour Through the Mind of a Sexually Deviant, Bi-Polar Individual: The Musical. Yes, it is a harder album to digest than Hissing Fauna, as each track morphs several times making them feel more like medleys than individual songs, but despite the emotional and musical roller coaster, the high points are brilliant and addictive. Skeletal Lamping occasionally veers into rehashed or less memorable musical territory, but like Waiting For Guffman’s Mayor Welsch says about the weather in Blaine, Missouri, just wait five minutes and it’ll change. And with the hard work Of Montreal put into Skeletal Lamping, they really have gotten it down to three or four minutes. So for a disturbingly revealing yet good time, crawl into the mind of Kevin Barnes — and make sure you bring some Zoloft along just in case things get too manic-depressive up in there. — Laura Witkowski
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Tags: Kevin Barnes, Of Montreal, Skeletal Lamping
Posted by: Ryan Allen on October 20, 2008 at 10:00 am
Crystal Stilts, Alight Of Night (Slumberland, 2008)
MP3: “SinKing”
In 08, “crystal” has become the new “wolf,” and we have proof: First we had electro-zombies Crystal Castles exploding all over the Internets, getting in all sorts of trouble on tour across the nation, and even accusing Timbaland of stealing one of their beats. Then PFork introduced us to Crystal Antlers, a rough and tumble rock outfit who deliver aggressive sounds akin to Shellac, Les Savy Fav, and the Jesus Lizard — and we must say, they’re pretty exciting.
Which brings us to the third band in the 2008 Crystal Trilogy: Crystal Stilts. Unlike the aforementioned bands, though, Crystal Stilts take a less modern, and much less aggro approach to their cloudy, moody rock songs. Swamped in murky reverb, and accented by vintage sounding Farfisa organ, cheap guitars, and bone-rattling tambourines, Crystal Stilts make a kind of psychedelic and stripped down doom rock that sounds like it could have come out of drug-infused late night sessions with Phil Spector, just as it could of come out of drug-infused late night sessions in the band’s own bedroom (peep “Spiral Transit” for proof, with a “Be My Baby” beat kicking things off nicely). Songs like “Crystal Stilts” and “Prismatic Room” give off the same mock turtleneck and sunglasses-at-night vibe as some of the best work by the Velvet Underground mixed in with the indie-pop quaintness of the Magnetic Fields. Elsewhere, on tracks like the mildly rocking and uptempo “SinKing” and the driving “Bright Night” the band manage to intermingle the sounds of newer acts like Vivian Girls, Aislers Set and the Shins with vintage Kinks, Rolling Stones, and even more tribal, stripped down garage bands like the Gories and the Troggs.
The question always comes, however, when you’re comparing bands to the Velvets, the Kinks, and giving them props for their Phil Spector-esque production techniques: What makes them different? What sets them apart from everybody else? In the case of the Crystal Stilts, the bizarre vocals of head mumbler Brad Hargett is a good place to start. His vocal style is all haunting and half-asleep, coming off like a strange brew of Ian Curtis’ howl (”Departure” may as well be called “Isolation”), Morrissey’s patented moan, Calvin Johnson’s effeminate baritone, and Jonathan Richman’s uncanny ability to not be able to sing, but still be totally awesome anyway. At once, it’s got all the qualities that could turn even the most adventurous listener off, and yet, simultaneously, it’s strangely lulling, inviting the curious to explore the vocal and instrumental combination that Crystal Stilts craft some more. The two can be a frustrating pairing — sometimes you just want to hear what these songs would sound like with a Jagger-esque dude at the mic who could actually sing in key. But that would make Crystal Stilts typical, and they are anything but. As you move through Alight Of Night, Hargett’s place in the ghosty, 60s garage-pop conjured by the rest of the band eventually becomes clear. Crystal clear, in fact. — Ryan Allen
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Tags: Alight Of Night, Crystal Castles, Crystal Stilts, Cyrstal Antlers, Ian Curtis, Jonathan Richman, Morrissey, Slade
Posted by: Ryan Allen on October 17, 2008 at 10:00 am
Curtis Eller, Wirewalkers and Assassins (American Circus Records, 2008)
MP3: “John Wilkes Booth (Don’t Make Us Beg)”
Curtis Eller could be Sufjan Stevens’ crazy older brother. Both Eller and Stevens are banjo-wielding, history-obsessive troubadours born in Michigan, but whereas Sufjan’s style is more sedate and gentle–the blue-eyed angel of Indie music–Eller is a little wilder looking, a more unpredictable performer, and isn’t afraid to get in yer face with his American tales of long-dead presidents, robber barons, and of course, Wirewalkers and Assassins, the title of his newest album.
Now residing in NYC, Eller was born and raised in Detroit and the city’s mythology still lives in his imaginative arsenal of reference points, whether singing about “diggin’ up Henry Ford” in the hard-charging “Firing Squad” or invoking our legendary boxing icon in the melancholic sweetness of “Save me Joe Louis.” Other songs have Eller singing in unusual roles, such as the distressed wife of a wirewalker in “The Plea of the Aerialist’s Wife” and as John Wilkes Booth in “The Curse of Cain.” And if one song about John Wilkes Booth isn’t enough for you, Wirewalkers and Assassins gives us two. “John Wilkes Booth (Don’t Make Us Beg)” is a rompin’ boogie that asks “Where is John Wilkes Booth when you need him?” (and later, Lee Harvey Oswald) and you kind of get the feeling that Eller isn’t singing about the 19th or 20th centuries here.
You don’t need to know anything about the Volstead Act or Robert Moses or the Hartford Circus Fire of 1944 to enjoy this sometimes sorrowful, sometimes foot-stompingly fun album. But it’s likely you’ll start getting curious as you find yourself singing these immediately memorable songs in your head. — Scotter Bragg
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Tags: Curtis Eller, John Wilkes Booth, Sufjan Stevens, Wirewalkers and Assassins
Posted by: Ryan Allen on October 16, 2008 at 10:00 am
The Nice Device, Sorry We Killed You (Self Released, 2008)
MP3: “Crawlspace”
After a brief hiatus spent Von Bondie-ing for the better part of the last year, Alicia Gbur, Matt Lannoo, and the rest of the Nice Device are back, blazing like a slickly produced power-punk fireball on their new EP Sorry We Killed You. The five songs included on their latest set adds fuel to the band’s ever-increasing flame, delivering a blast of sweetened power pop that will leave your teeth aching and your head spinning. Gbur’s soprano voice is at the forefront of the new songs, and her saccharine coos fall somewhere between the bratty snarl of pop-tart Avril Lavigne and the new-wave cheekiness of Berlin’s Terri Nunn (with a little Kay Hanley by-way-of her work on the Josie and the Pussy Cats soundtrack thrown in for good measure). “Ask me if there’s someone new, and I’ll tell you gladly,” Gbur sings before ripping into a chorus that is equal parts sass and class in “No Apologies.” “Can’t Be Friends” is biting and anthemic, full of “oh snap!” moments (”…you couldn’t even pawn yourself at the second-hand store”) that will leave no mystery as to who the barbs are directed. But Sorry We Killed You is not just the Gbur show, and Lannoo reasserts himself as one of the city’s best guitar players, ushering in crunchy power chords, slinky, effected lead lines, and screeching feedback from his six-string with gusto and flair. Drummer Nick Gerhardt yet again proves to be the band’s secret weapon, delivering understated, driving beats that connect seamlessly with the conjugated basslines of Jeff Alber. And it’s hard to ignore the new-wave synth sound that explodes throughout the entire EP, giving the short collection a glossy sheen that seems fit to be devoured by mall rats, Rentals fans, and nostalgic-for-the-80s rockers alike. Put all these elements together, and you’ve got a dangerous combination that will have all the boy bands that pose as “indie groups” shaking in their Chelsea boots. — Elle Sawa
The Nice Device EP release show w/ Friendly Foes + Millions of Brazilians • Magic Bag • 10/17
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Tags: Alicia Gbur, Can't Be Friends, Matt Lannoo, No Apologies, Sorry We Killed You, The Nice Device, the Von Bondies
Posted by: Ryan Allen on October 15, 2008 at 10:00 am
Ten Kens, Ten Kens (Fatcat, 2008)
MP3: “Refined”
Despite how awesome it would be if the band Ten Kens was comprised of ten men named Ken, it isn’t. But these four guys from Toronto do manage to create the sound of ten guys. Like Broken Social Scene meets Shudder To Think, their debut album is sonic layer over sonic layer of dramatic, fuzzed out guitar-centered indie anthems. Formed five years ago by founding members and songwriters Dean Tzenos (guitar) and Dan Workman (vocals), Ten Kens cycled through various rhythm section folk before finding Lee Stringle (bass) and Ryan Roantree (drums). The album lends itself well to a game of “Name That Influence” (various tracks make hard nods to Slint, Sonic Youth, Shellac, Black Sabbath and assorted early 90s Sub Pop favorites) but still manages to bring enough new stuff to the table to avoid being derivative. Tracks like “The Alternate Biker” and “Worthless & Oversimplified Ideas” show Ten Kens have a knack for going from melodic jangle to full guitar onslaught and back without losing the coherency and melodic drive that propels the whole show. Echoing the underlying economic sentiment of our times, the album closes with a dark, down tempo track called, “I Really Hope You Get To Retire” in which Workman sings, “You’ll pass this on to me some say, afford to save some day.” Whether he’s cursing Treasury Secretary Henry Paulson or just stating the obvious to his many indie-predecessors, Ten Kens should sleep tight, because they’re clearly making wise investments. — Laura Witkowski
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Tags: Broken Social Scene, Fat Cat, Henry Paulson, Refined, Shellac, Shudder to Think, Sonic Youth, Ten Kens
Posted by: Ryan Allen on October 10, 2008 at 1:04 pm
Deerhoof, Offend Maggie (Kil Rock Stars, 2008)
MP3: “Offend Maggie”
Unlike that totally undeserving-of-the-title crappy boxed rice side-dish, Deerhoof is the ultimate San Francisco treat. On their 10th full length, Offend Maggie, the band continues their tradition of making erratically melodic yet angularly discordant pop music. A lesser outfit could never get away with putting a voice as plaintive as Satomi Matsuzaki’s front and center, but Deerhoof have spent their career cultivating the perfect blend of brash and simple beauty. Of course, being amazingly good musicians certainly helps. Last year’s acclaimed Friend Opportunity showed that even down one member, they lost no ground as a three piece, but with the addition of new guitarist Ed Rodriguez, Offend Maggie ups the sonics to blissful proportions. What’s most surprising about Offend Maggie is the euphoric cognitive dissonance of listening to something that’s both challenging and additively catchy at the same time. “Chandelier Searchlight” showcases their mastery of quirky pop perfection, whereas “Eaguru Guru” has a jarring sense of urgency and build that’s more exhaustively rewarding. It’s like Chutes and Ladders for your ears — Deerhoof’s melodic bliss will send you climbing to new heights, and just when it looks like you’re about to over indulge your musical sweet tooth, down the cacophonous chute you go to start the ascent all over again. – Laura Witkowski
Deerhoof play the Crofoot w/ Experimental Dental School and Flying on 10/18
Bonus: The foot-tappin’ video for “Fresh Born”
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Tags: Deerhoof, Friend Opportunity, Kill Rock Stars, Offend Maggie
Posted by: Ryan Allen on October 9, 2008 at 12:29 pm
Jay Reatard, Matador Singles ‘08 (Matador Records, 2008)
MP3: “See/Saw”
Over the course of the year, Memphis’ fuzz-punk purveyor Jay Reatard has been something of an indie-tabloid fire starter. Last April, at a typically wild gig in Toronto, Reatard punched a “fan” directly in the face, after said fan spilled beer all over Jay’s beloved effects pedals. At this Summer’s past Pitchfork Music Festival, Reatard joined King Khan and Deerhunter’s Bradford Cox for an impromptu set (thrown together while awaiting the arrival of Cut Copy). However, instead of thrashing away at his trusty Flying V guitar, Reatard was instead seen screaming nonsense into the microphone and eventually sticking a flower up his ass — birthing the appropriately named supergroup “Buttflower” in the process. And just recently, in an interview accompanying a blistering 3-song set for AOL’s The Interface, Reatard claimed that he felt no connection to the current political climate, and that he spends too much time in other countries to even care (at one point even saying, “Obama your momma”). Apparently, disenchantment is the new Obama t-shirt.
Anyway, whether or not we condone these types of behaviors is somewhat secondary to how much we have fallen in love with the hyperized pop/punk that Reatard has now become almost legendary for producing. Like a Buzzcocks-obsessed version of Guided by Voices’ Robert Pollard, Reatard’s prolific nature has led him to release countless albums and singles over the years, with outfits like the Reatards, Lost Sounds, Final Solutions, as well as under his own name — most notably the 15-song onslaught that is 2006’s Blood Visions. This past summer, In The Red Records released Singles 06-07, a sort of retrospective housing Jay’s 7″ chunks of wax released over those same years. Running from garage-y punk to out-and-out jangle-pop, the album was not only a great introduction to the Reatard, but the first indication that the guy was capable of more than appropriating a spot-on British accent. In turn, the collection hinted at the possibility that the sound of future releases might be a bit harder to pin down.
The reception and quality of both releases also got him signed to Matador Records (longtime home to Guided by Voices, oddly enough). With the indie giant now behind him, Reatard was given the green light to continue his obsessive habit of releasing 7″ singles, and before year’s end, six of them existed on record store shelves and with online retailers alike. Keeping in mind the current climate of the record industry, though — and the fact that, “Hey! Nobody buys music anymore!” — the fact that Matador would get behind such an idea in the first place only seems to promote Reatard’s viability as a songwriter, and not some silly punk kid from the South with too much time on his hands.
But with all things hair-brained and risky, the reason to do it really comes down to simplicity: in this case, for lack of a more intelligent descriptor, the songs contained on Matador Singles ‘08 (the collected version of the aforementioned Matador singles) are good as fuck. Lo-fi, yet hardly crude, quick in pace, but nowhere near forgettable, Reatard continues to prove that he’s on a roll, perhaps rejuvenated by the signing to a new label and his new-found status as punk’s next savior. Touching on everything from Superchunk-esque indie punk (”See/Saw”), caffeinated acoustic pop (”Screaming Hand,” “No Time,” “You Were Sleeping”), to organ-laced sock-hop jams (”You Mean Nothing To Me”) and Wire-ish reverberated art-punk (”Trapped Here,” “Dead On Arrival”), Reatard manages to nod to everyone from ? And the Mysterians, Supergrass, and Buddy Holly, to kiwi-popsters like the Go-Betweens and the Bats — even throwing in a paranoid cover of Deerhunter’s excellent “Fluorescent Grey” for a welcome curveball.
So whether or not Reatard’s public persona is growing continuously viral, with Matador Singles ‘08, there’s no question that his music is continuing to be increasingly vital — and we can’t wait to hear what comes next. Hopefully Buttflower makes an apperance. — Ryan Allen
Jay Reatard plays the Magic Stick w/ Cola Freaks & Terrible Twos on 10/15.
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Tags: Blood Visions, Buzzcocks, Jay Reatard, Matador Singles '08, Supergrass, The Lost Sounds
Posted by: Ryan Allen on September 30, 2008 at 11:47 am
Brightblack Morning Light, Motion To Rejoin (Matador Records, 2008)
MP3: “Hologram Buffalo”
If you live in a solar powered tent-like structure in the middle of New Mexico and spend your days meditating over your Native American heritage, reminiscing about your connection to nature, and writing long, slow motion jams celebrating the Earth and your quest for freedom, congratulations, you are probably Brightblack Morning Light. But for those unable to live a 24/7 hippie life of Zen and healing crystals, the music of Naybob Shineywater and partner Rachael Hughes offers a portal into that world to be entered at will by simply allowing their music to enter your world. Awash with mood altering shimmers and dream-like gliding riffs, Brightblack Morning Light proves that being in touch with the Earth doesn’t necessarily mean keeping your feet on the ground. Motion To Rejoin, their third full length and second for Matador, takes psych, funk, Native American instrumentation, 60’s soul, gospel and more and throws it all into Brightblack Morning Light’s cauldron of mysticism. Like most good recipes, this one takes its sweet time brewing to perfection, and the results must be savored slowly to truly enjoy. Each song floats and swirls like the smoke from a smudging stick, offering emotional and spiritual purification. Brightblack Morning Light are offering up a chance to get back in touch with the environment, to help you remember what it’s like to actually go outside and marvel at nature’s mysteries. Unless you’re far too jaded, consider accepting their Motion To Rejoin. — Laura Witkowski
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Tags: Brightblack Morning Light, Matador Records, Motion To Rejoin
Posted by: Ryan Allen on September 26, 2008 at 9:00 am
Kings of Leon, Only By The Night (RCA, 2008)
Like the rest of America, we’ve always had a mild curiosity, but overall “meh” attitude towards Kings of Leon. When they first hit in the summer of 2003, with Youth & Young Manhood, they were sporting Allman Brothers locks, their sisters’ jeans, and spiky guitars laced with a Southern twang that pegged them as a hick-version of the Strokes (or, perhaps, if My Morning Jacket had jumped in a time machine and relocated to New York City in 1978). But like a lot of new bands that were sprouting from the underground in the early parts of the Millennium, Kings of Leon seemed like another flash in the pan, with more “rock critics” (’sup, Jenny Eliscu?) focusing on the Followill boys’ tweed jackets, long locks, and chest tats rather than the fact that, well, besides having chiseled jaws and cool clothes, that their actual songs were sort of ho-hum. Passable. Kinda cool, but not terribly exciting.
Thankfully for Kings of Leon, England usually disagrees with what most of the American music buying public thinks (how else can you explain the Libertines?), and once in a great while, they choose a group from our side of the pond to praise, champion, and essentially claim as their own (’sup, Strokes?). So starting with their debut, and even more-so upon the release of 2005’s Aha Shake Heartbreak, Kings of Leon went from being on a few critics’ “cool lists” to sharing tea and crumpets with Oasis, with their mugs plastered on the cover of the NME every three issues or so (splitting time with the Libertines, presumably).
Still, America shrugged its shoulders. Maybe it’s cos the dudes are all brothers (well, the drummer is a cousin), and American brother-bands just aren’t taken seriously over here (the Brits have Oasis and we have, uh, Hanson?). Or maybe they’re just too goddamn good looking. Or perhaps it’s because their brand of rock and roll isn’t as easily digestible as, say, Kid Rock’s, who somehow gets away with combining Southern-rock clichés with recycled RUN DMC beats.
Whatever the case, KOL must have realized that a little change was in order. Starting on last year’s basically awesome Because of the Times, and on into the new Only by the Night, the down-home, “aw shucks” country boy thing gets pushed to side a bit, and as a result, a more succinct, melodic, and bold side of the band has come forth. Examples? How about we start with “Be Somebody,” a tune strewn with electrifying U2-ism’s in the guitar work, with brooding singer Caleb Followill’s chugging baritone going on about “loosening” his tie — which, really, is just what this band needs. Elsewhere, “Closer” bumps on with a sexy swagger that is at once grungy, spacey, and soulful, and at 3:16, when the song is left to breath for a moment…well, it’s nothing short of spine tingling. “Notion” nods to the Leon of old, but takes the path of trusted rootsy rockers Petty and Springsteen — less “Bonnaroo” if you will — with plonky pianos and crunchy-vs.-ringing guitar jangle that comes off effortlessly. Hell, even the wonky Johnny Greenwood-esque guitar lead sounds right here. The anthemic “Use Somebody” reaches for Arcade Fire/Coldplay levels of grandiosity, but brings things down to Earth with a little bit of restraint, and the ability to know that three minutes and fourty-five seconds is long enough to make your point. “Crawl” combines religious sentiments with a killer bass riff that could have been lifted from DFA 1979’s last album (or, more accurately, Joy Division’s whole catalouge) and drumming that nods to Led Zep’s “Kashmir,” as Caleb taunts “the crucified USA” to “learn to crawl” before he walks away. Hm, looks like even they realize America needs to play catch up when it comes to their own band.
Of course, we’ve all heard lead single “Sex on Fire” by now — with a title like that, how could we not? But even if it functions as the albums “popular” jam, the song still stands out on the album for it’s confident stance and passionate delivery by the whole band. And really, who doesn’t want to lean over to a loved one and shout, “Yo SEX is on FIYAAAAH!” during a nice moment of intimacy? We know we do. Thanks Kings of Leon. Oh…sweet new haircuts, by the way. — Ryan Allen
“Crawl,” from Kings of Leon’s YouTube Channel.
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Tags: Crawl, Kings of Leon, My Morning Jacket, Only By The Night, Sex on Fire, The Strokes, Youth and Manhood
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