Archive for the ‘Reviews’ Category
Album review: Free Energy - Stuck On Nothing
Friday, March 5th, 2010
Free Energy Stuck On Nothing [DFA]
If you’ve at all followed the DFA Records catalogue, then you’ll find Free Energy to be a bit of an anomaly for the label. Known for revitalizing the electronic music scene at the turn of the millennium, DFA quickly built a reputation with an in-house production sound that united house, disco, funk and punk. Acts such as The Rapture, Hot Chip, The Juan Maclean, Hercules and Love Affair, YACHT and of course, DFA co-founder James Murphy’s own LCD Soundsystem have released some of the most influential and innovative music in the last decade. And now we have Free Energy.
Free Energy are not house, disco, funk and punk. Formerly known as Hockey Night, these Philadelphians sound born to blast out of the speakers of a Flyers game during a TV timeout. They’re as pure and unfiltered as good time rock’n’roll can get these days. But more specifically they take their sound from the glam, power pop and riff rock of the ’70s, when T-Rex, Todd Rundgren and Thin Lizzy, respectively, crunched their chords and pushed just how sugary and electric rock’n’roll could get.
There are so many reference points in Free Energy’s music though, it’s almost insulting to try and evaluate the long-delayed Stuck On Nothing. “Dream City” recalls the high schooled-soda pop of obscure ‘70s band Milk ‘N’ Cookies. “Bang Pop” maximizes the impact of the drums to ensure they’ll be ready to handle the arenas and stadiums a band like Free Energy are born to fill. “Bad Stuff” is made of that cool-handed swagger Thin Lizzy sweated, with Paul Sprangers adopting a perfect facsimile of Phil Lynott’s blithe expression over the tight, punchy rhythm. And “Light Love” is bright, effortless and possibly the most bona fide power pop imagined since Jellyfish, Matthew Sweet and The Posies took a stranglehold on the subgenre at the turn of the ‘90s.
DFA has always prided itself in modernizing a throwback sound, and it’s hard to defend Free Energy’s sound as contemporary. That is all irrelevant though when it comes to the sugar high that comes with Stuck On Nothing. If only more retro rock bands could replicate ‘70s rock the way Free Energy have managed, maybe, just maybe, a band like Jet wouldn’t have been so foul-tasting.
Rating: B+
- Cam Lindsay
Check out a stream of the album here.
Tags: DFA Records, Free Energy, Hockey Night, Stuck On Nothing
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NewMusic First Spin: The Besnard Lakes
Wednesday, March 3rd, 2010
The Besnard Lakes twisting chronicle, or fever dream, of spies, double agents, novelists and aspiring rock gods has turned violent. Loyalty, dishonor, love, hatred all seen through the eyes of two spies, fighting a war that may not be real. One follows the other as they receive coded messages and spread destruction. The city is burning, and it’s to the benefit of music obsessives everywhere. Once again, the husband-and-wife duo of Olga Goreas and Jace Lasek has crafted a majestic, sprawling vision of guitar bombast and captivating pop experiments.
That’s some heavy shit. But in a nutshell, that’s the new Besnard Lakes album. The Besnard Lakes Are Roaring the Night follows up 2007’s The Besnard Lakes Are the Dark Horse, an album that not only earned the Montrealers a Polaris Prize nomination but also a record deal with Jagjaguwar (outside of Canada), international acclaim and a gig writing the score for Mark Ruffalo’s directorial debut, Sympathy for Delicious.
On their third album, The Besnard Lakes descend deeper and deeper into murky, shoegaze territory, stacking layers of feedback, reverb and drone to no end. But as they’ve proven before, this is not a band that can be simplified. Within their hazy production are traces of a musical pedigree that incorporates arena rock guitar explosions, orchestral blessings and harmonies that are usually reserved for pop’s widespread approval.
“Like The Ocean, Like The Innocent” opens the album in two parts: The Ocean and The Innocent. The first is a preliminary interlude of instrumental bliss, while the second is immersed in undulating pedal-driven noise, elevating Lasek’s high register until it bursts into an inferno of hypnotic guitar jams and blazing solos that acts as a prep for the album by hitting you like a jolting shot of adrenaline.
“Chicago Train” takes a breather and falls into a transcending spell of tender string arrangements that recall Spiritualized. It doesn’t last though - the string players are forced to give way to the band who come in riding a wave of crashing guitars.
“Albatross” and “Glass Printer” all make for stronger arguments about a shoegazing fixation: the former falls into a reverie built around wonky, off-tuned guitars and the angelic vocals of Goreas, which undeniably signals My Bloody Valentine’s swooning influence; the latter cranks up the swirling feedback to flow with the lackadaisical drumming that falls more under the more rock stylings of Swervedriver.
But the use of Led Zeppelin’s mixing desk hasn’t been lost in the band’s dense layers. Another two-parter comes with “Land Of Living Skies,” the first of which is a laconic instrumental of radio hiss, the second more of a mid-tempo rock that descends into a convergence of the band’s massive, swelling sonics.
The Besnard Lakes Are Roaring the Night is an vast ocean of sound, where the melodies are streamed through fuzzed out psychedelia and loud bursts of random noise. Feel it for yourself and get swept away.
Click here to listen to a stream of The Besnard Lakes Are Roaring the Night.
Tags: Jace Lasek, Olga Goreas, The Besnard Lakes, The Besnard Lakes Are Roaring the Night
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NewMusic First Spin: Jason Collett
Tuesday, March 2nd, 2010
Though he’s unjustly recognized more for his membership in Broken Social Scene, prolific Toronto-based troubadour Jason Collett has built himself a trusty catalogue that’s equal parts hook-heavy pop, good time rock’n’roll and soul-searching folk.
Recorded with Carlin Nicholson and Michael O’Brien of his backing band Zeus, Rat A Tat Tatmarks Collett’s fourth album of the decade and arguably his best effort yet. Wearing his Canadiana roots on his sleeve, Rat A Tat Tatmoves like a tour across our fair nation, province to province - something he’s had his fair share of both as part of BSS and on his own.
Collett’s oeuvre is one that moves like a strong breeze through a selection of influences. Beginning with a Dylan-esque twang for “Rave On, Sad Songs,” Collett opens on one of the album’s more dour notes, exploring heartbreak by announcing “happiness is for amateurs” over a mix of accordion and country-blues guitar. But “Lake Superior” changes the colour of his mood ring by doubling up Collett’s vocals and dropping sharp, bleeding guitar riffs to generate some glam rock swagger.
“Love Is A Dirty Word” keeps things moving by kicking up a dirty, little funk bass line to accentuate the playful tone of Collett’s words, which he delivers in an amusingly cocky croon. He then strikes AM Gold with the swinging, feel-good stomper “High Summer,” and shows his contributions to the BSS enterprise with “Love Is A Chain,” flashing his chops for penning a perfect, road-trip-bound pop song.
The last quarter of Rat A Tat Tatexpresses a fondness for the Beatles in “The Slowest Dance” with its snap rhythm, tight guitar chords and underlining piano twinkle; album standout “Winnipeg Winds” summons a ghostlike presence to become an eerie murder ballad; and “Vanderpool Vanderpool” signs off with a lackadaisical coolness to it, resorting back his freewheelin’ Dylan-ish persona to draw the album to a close.
Jason will start up the van and take Rat A Tat Taton the road as part of the Bonfire Ball, which also features Zeus and Bahamas. The tour begins in Toronto on March 10th.
Click here to listen to a stream of Rat A Tat Tat.
Author: Cam Lindsay
Tags: broken social scene, Jason Collett, Rat A Tat, Zeus
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Album review: Retribution Gospel Choir - 2
Thursday, February 4th, 2010
Retribution Gospel Choir 2 [Sub Pop]
On paper, Retribution Gospel Choir basically = Low – Mimi Parker + Eric Pollard. It seems like a harmless substitution but when you compare the two bands, there is one essential difference: volume.
When Alan Sparhawk and Steve Garrington first teamed up with Pollard, few people knew what the trio had in store. When their self-titled album was released in 2008 on Mark Kozelek’s Caldo Verde label, it was certainly a “must sit down to hear this” occasion. Anyone familiar with Low knew Sparhawk had it in him to unleash some of that pent up emotion that only really trickled out through meagre, hushed arrangements – RGC proved to be this outlet.
Now signed to Sub Pop, the band’s first album for the label lives up to its predecessor, forging ahead with more of that riff-ravaging rock, while introducing more nuances to hone their sound.
2 wastes little time reaching its TCOB mantra. “Hide It Away” likes it loud, but sounds as if it was leftover from Low’s The Great Destroyer, with its sprawling scope and layered chorus that suggest Mimi was in the studio. But then the opening sound of plugging in and letting loose on “Your Bird” confirms this is definitely Sparhawk on the graveyard shift.
“’68 Comeback,” gets even louder in its brief 43 seconds, unloading like Thin Lizzy after too many of those whiskey jars. It works as the perfect precursor to “Workin’ Hard,” a paean to Neil Young & Crazy Horse’s proto-grunge period that takes a blue-collar perspective and equally channels the likes of the Boss and straight disciples The Constantines with its anthemic chorus and muscular strumming.
But RGC aren’t simply a classic rock rehash. They indulge in a fit of lo-fi noise rock nonsense for “Something’s Going To Break,” bring in some strings for “Electric Guitar,” an eight-minute monster of a song, and then tone it down all Low-like on “Bless Us All,” which calls on a banjo and redemptive vocal refrain of the title to sign off like an Amen.
Low fans might be taken aback by hearing Sparhawk’s sonic exclamation, but behind the walls of rock guitar are songs that bear the same signature as anything he’s done prior to RGC. Still, it’s a rush to hear him let loose, making 2 the perfect answer to 17 years of trudging through the depths of slowcore.
Rating: B
- Cam Lindsay
Tags: Alan Sparhawk, Eric Pollard, Low, Retribution Gospel Choir, Steve Garrington
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Album review: Beach House - Teen Dream
Thursday, January 28th, 2010
Beach House Teen Dream [Sub Pop]
The progress most artists make from their first to their third albums is usually one way or the other. Either they stick with a good thing if it’s working (read: selling records) or they attempt some sort of reinvention to satisfy someone’s creative itch (be it their audience’s or their own). Baltimore duo Beach House are in the former category but not exclusively.
On their first album for Sub Pop, Teen Dream, Victoria Legrand and Alex Scally, continue to enchant us with the gleaming, lackadaisical dream pop they we first heard on 2006’s self-titled debut. But as “Zebra” arises there’s an almost instantaneous click in the way Legrand bends the hook in the chorus that signals this album as a cultivation. Considering the shimmering brilliance of their first two albums, this revelation signifies just how exceptional an album like Teen Dream is.
“Silver Soul” reminds us of those lazy Mazzy Star comparisons, but where David Toback and Hope Sandoval rarely broke from the formula of groggy slide guitar and velvety vocals, Beach House let the droning organ take over or slip in some fluctuating rhythms.
Single “Norway” is easily their biggest step forward as far as sonics and accessibility. The twinkling guitars have a Cocteau Twin-like radiance, bending and ringing with woozy effect, while Legrand gets some welcome assistance from some breathy backing sighs, which add another heavenly layer to Beach House’s rather simplistic sound. It’s also the most memorable song they’ve written yet.
Last year’s “Used To Be,” as well, shows the music is not all about knocking back some valium and fading out of consciousness. The toe-tapping tambourine-assisted beat and swirling organ breathe new life into their canon.
But the biggest surprise comes in “10 Mile Stereo.” The crest of shoegazing noise allows us to peek at where Beach House can turn to in the future. While Slowdive/My Bloody Valentine rip-offs are a dime a dozen, the swelling waves of guitars really correspond with what Legrand and Scally have been doing till now.
Beach House’s growth may not be as measurable as some bands, but it’s obvious by hearing Teen Dream even once how their songwriting has been sharpened and refined without sacrificing the elegiac beauty that won over fans in the first place.
Rating: A
- Cam Lindsay
Tags: Alex Scally, Beach House, Sub Pop, Teen Dream, Victoria Legrand
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Album review: Vampire Weekend - Contra
Tuesday, January 12th, 2010
Vampire Weekend Contra [XL]
Can we blame people for hating on Vampire Weekend? They sing about vacationing in Cape Cod, pillage the shuffling Afro-pop sounds of Soweto (they describe themselves “Upper West Side Soweto”), boast Ivy League educations and dress as though they’re the faces of the latest Ralph Lauren campaign – or possibly a new upscale shop called Urbane Outfitters. Yes, they certainly don’t hide their soft knock life.
But who cares? Behind the indie blogger-fuelled hype machine are a bunch of wide-eyed NYC preppies that craft singular pop songs brimming with worldly dexterity. Had they been born and bred from any other scene than the cantankerous indie rock milieu, we wouldn’t be having this conversation. And so it must be said that their sophomore effort is far from a slump, and nothing short of brilliant.
Following up Vampire Weekend seemed like a difficult task. Nearly 500,000 copies sold meant it was more than Pitchfork’s readership listening. But despite lacking the immediacy of their debut, Contra (yes, apparently named after the NES game that gave us “up, up, down, down, left, right, left, right, B, A, B, A, start”) reveals itself as easy, breezy and yes, even beautiful almost instantly. “Horchata” basks in the sun, as frontman Ezra Koenig sips on the titular organic beverage and waxes about multiculturalism, while Rostam Batmanglij generates some pulsating electronic vibes that mingle with tropical percussion and strings. Yep, they go for broke right off the top, but it only gets better.
As producer, Batmanglij appears to be a real difference maker on Contra. His side-project Discovery was an outlet for him to indulge in his electronic musings, and it’s really rubbed off on Vampire Weekend. “White Sky,” for instance, brings in undulating synths to match Koenig’s vocal elevations, “Run” evokes The Very Best’s Malawian shuffle, and “Diplomat’s Son” brings some of that Baile funk as if Diplo was behind the boards, which he actually is, kinda – the band sample M.I.A.’s “Hussel,” the producer of which was Dip.
Vampire Weekend’s growth doesn’t end with Batmanglij’s effect, however. There is plenty of accordance between the two albums, but Contra seems like the drop-off point for those Graceland associations. “Giving Up The Gun” may keep that flowing studio warmth Paul Simon virtually invented, but VW progress from being influenced into a signature sound, ensuring a Hallmark-type moment in any teen drama has its go-to track.
And it’s not all just tunes fit for a cruise liner. “California English” tackles grammar and language in a feistier manner than “Oxford Comma,” with Koenig losing his breath spitting through the lyrics. Single “Cousins,” meanwhile, gets downright dirty, accelerating “A-Punk” to a rockabilly velocity with a dire urgency to finish under the two and a half minute mark – which they do.
They may leave the indie kids that discovered them behind with this album but that’s entirely up to the listener. Contra is the sort of sophisticated, career-shaping record destined to elevate the band to new heights, should they choose it. That they’ve targeted such an icy Canadian January to release this second record is all the more reason to root for them.
Rating: A
- Cam Lindsay
Tags: Contra, Ezra Koenig, Rostam Batmanglij, Vampire Weekend
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Getting To Know Coconut Records
Wednesday, December 23rd, 2009
One of the most unexpected discoveries I made this year was actually something I’d known about for years. A one-man band called Coconut Records fronted by actor Jason Schwartzman had crossed my path back in 2006, but struck me as nothing more than a vanity project. A completely biased blunder on my part, I admit. I had let an unfound dislike for his acting career become a barrier between me and some truly tuneful music. I think it all had to do with his role as dated Zooey Deschanel’s real life boyfriend a while back. It was one that I’d longed to play for years, so that would make me side against anyone. (Yes, Ben Gibbard, I now officially hate your guts.)
A re-evaluation of Coconut Records late this year, however, has me contemplating the creation of a Team Jason shirt (though I’d probably splurge for a Coconut Records tote bag first, if I’m being honest here). Released at the beginning of 2009, his second album Davy seemed like a difficult one to spot. First of all, it completely flew under the radar. Aside from there being no Metacritic score for it and only a handful of reviews (Pitchfork blindly gave it the kiss of death with a measly 5.9 review), Davy, much like its predecessor – 2006’s Nighttiming – was never released here in Canada. According to Schwartzman’s very own label, Young Baby, he hasn’t “been able to find a good label to release the band’s albums in Canada with.” What the? It looks as though I’m not the only one who was oblivious to the fact that it was Jason’s chewy “Summer Day” and “The Thanks I Get” that were lodged in my cranium after Dentyne used them in ad campaigns. (The former was also used in Spider-Man 3, but that was easy to miss.)
What I like about Coconut Records is how uncomplicated and amiable the songs are. Like Phantom Planet - who he famously drummed for on their first two albums and cemented his spot in the annals of rock on “California,” aka The O.C.’s theme song – Jason puts hooks above anything else. Toning down his sound from PP’s excited power pop (to which he references on “The Drummer,” wryly nodding to his former post by admitting “I was a drummer in a band that you’ve heard of”), Jason is an introspective kind of songwriter, and not unlike what you’d expect from an actor. But I don’t see this as a whiny attempt to navel-gaze. Davy refrains from the star-studded guest list of its predecessors, which included Deschanel, Kirsten Dunst, and brother Robert, who’s in the band Rooney. This gives him some needed alone time to delve more into being a songwriter than coming off as a well-known actor with musical aspirations and some famous friends.
Jason’s well-versed in classic pop standards. His arrangements are lush and sweet, full of layered acoustic guitars and percussive knick-knacks echoing the late Elliott Smith, which heavily echoed that of The Beatles, of course. The production (and Jason’s voice, uncannily) heavily recall Brendan Benson’s solo work and Todd Rundgren’s signature sound behind the boards. But there’s also a heavy bedroom influence to Coconut Records’ oeuvre. It’s pretty easy to picture him hammering out these songs on the edge of his bed, writing them down on a spiral notebook and then plugging them track by track into a Tascam – I can’t say the same about Leighton Meester…
Unlike a lot of actors-turned-musicians though, above anything else, Coconut Records songs come off as honest and authentic. (Check the date - he’s been doing this longer than the acting gig.) I know he leads a privileged life, but had he never starred in Rushmore, Davy proves he could have made it as a musician. Of course, it’s nice to know he can do both, because I’m loving him in Bored To Death.
- Cam Lindsay
Tags: Coconut Records, Davy, Jason Schwartzman, Nighttiming, Young Baby Records
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Album reviews: Thee Oh Sees / Broadcast / Beak>
Tuesday, December 22nd, 2009
Thee Oh Sees Dog Poison [Captured Tracks]
I can’t actually tell you how many releases San Francisco’s Thee Oh Sees have given us in 2009 alone, but I do know Dog Poison is their third LP. John Dwyer and co. certainly keep busy, but it doesn’t seem to be wearing thin. On Dog Poison, the band don’t adjust any of their trademark lo-fi production, however, bring acoustic guitars and a more bullish songwriting style to the forefront. The move pays off in spades, giving us Kinks-y buoyancy on “Sugar Boat” and “The River Rushes,” without jeopardizing their rackety poise. In fact, with a little more of this feel-good jangle in their repertoire, Dwyer could see this long-time endeavour actually become something more than just an underground curiosity. Rating: B+
Broadcast & The Focus Group Broadcast & The Focus Group Investigate Witch Cults Of The Radio Age [Warp]
This joint effort by the Brummie avant-pop visionaries and graphic designer Julian House (here as The Focus Group) answers a long-burning question of where Trish Keenan and James Cargill have been for the last four years. While a new full-length is due in the new year, this stopgap, 23-track mini-album verifies the now two-piece have been delving deeper into polychromatic music. But with House now involved, Broadcast have widened their scope, flourishing with succinct sketches that demonstrate an appetite to dabble. “I See, So I See So” strips their electronics down to reveal a fondness for old British folk music with seaside ambience, “Seancing Song” comes together as some improv sound collage and “What I Saw” is a minute-long choral exercise that leaves everything up to Trish and a chirping bird. Whether this is a sign of what’s to come, only the next album will tell, but either way Broadcast have certainly grabbed my ear. Rating: A-
Beak> Beak> [Ipecac]
Unlike his strict, meticulous work ethic in Portishead, Geoff Barrow likes to cut loose when it comes to his side-project Beak>. Formed earlier in the year with two fellow Bristol musicians, Barrow took the absolute opposite approach with this record, writing and recording the entire album in 12 days in one room. This ad hoc nature of Beak> certainly gives off some freshness, as the compositions are spacious, freeform and exploratory. And with Barrow’s name attached to it, there are sure to be quite a few looking for direct connections to Portishead. Beak> isn’t without its links; the shadowy, overt nods to Krautrock certainly speak to the ominous sounds he concocted on Third, and I could imagine Beth Gibbons caressing a song like the motorik “I Know.” But in virtually every way Beak> is Barrow tasting freedom, and this album works best when you’re thinking more about three guys hammering this out in a room than when you consider who’s making it. Rating: B
Tags: Beak>, Broadcast, Broadcast & The Focus Group, Broadcast & The Focus Group Investigate Witch Cults Of The Radio Age, Dog Poison, Geoff Barrow, Portishead, Thee Oh Sees
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Album review: Animal Collective - Fall Be Kind
Tuesday, December 15th, 2009
Animal Collective Fall Be Kind [Domino]
They really didn’t need to do this. After over-stimulating us way back in January with Merriweather Post Pavilion, an album that still reveals brand new elements and nuances almost a year later, Animal Collective cap off a career-making year with five more mind-bending gems.
Fall Be Kind is not a companion EP, but a stand-alone work that peels yet another layer from their infinite onion. Well, actually, opener “Graze,” was originally imagined for MPP, and I can see why. The soaring, echo-y haze keeps ascending until it trickles into a coda that’s as much some Celtic/polka concoction as it is a carbonated AC breakdown we’ve become accustom to.
“Bleed,” on the other hand, looks back to the more jam-filled formative years, where they were more about simplifying music by stretching out songs into extended refrains (though this one isn’t even four minutes). “On A Highway” too eschews MPP’s boisterous activity, spreading its wings and soaring off into a pensive, dubby drone.
Since its initial announcement though, Fall Be Kind had most people curious to hear what they did with the sample they lifted from the Grateful Dead’s “Unbroken Chain.” As the first act ever to receive clearance from the Dead, AC certainly put it to good use. The guitar part is looped and then absorbed into their intricate layers, blossoming into a bona fide pop song that acts as not just the centrepiece but also one of the most accessible things they’ve given us.
Ending on a more drawn out cut helmed by Noah Lennox (Panda Bear) is both surprising and not very. Again, it demonstrates how much Animal Collective like their songs to climb and then expand. While it takes nearly five minutes to arrive, the pinnacle arrives when the song erupts - for one brief, glorious minute - like a gutted piñata expelling a melange of dizzying harmonies.
Apologies for getting seasonal, but Fall Be Kind is like that extra special Christmas present your parents wait to give you after you’ve unwrapped everything in sight – somewhat unexpected, not exactly necessary considering the gift they already gave us this year, and the complete and utter cherry on top of a year that has seen them become the most influential and important band making music.
Who knows what they could possibly have in store for that next album, but let’s hope they’re making that promise to have it out next year as a New Year’s resolution…
Rating: A
- Cam Lindsay
Tags: animal collective, Domino, Fall Be Kind, Merriweather Post Pavilion
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NewMusic First Spin: An Horse
Monday, December 14th, 2009
Brisbane, Australia’s An Horse sure have a way of ensuring they reflect the current state of music. First off, they’re a duo, and right now it doesn’t get any trendier being in a twosome (see No Age, Japandroids, Matt and Kim, etc.). Secondly, their music evokes that undeniable spirit of the ‘90s, when the term “alternative” found its legs. And well, touring with the likes of chart-topping alt-rockers like Tegan and Sara and Silversun Pickups certainly helps things.
Selecting Vancouver-based producer Howard Redekopp for their debut full-length then certainly made sense. Having previously recorded acts like Tegan and Sara, The New Pornographers and The Organ, An Horse positively make the most of his skills. Rearrange Beds comes alive with an effervescent spark, as if members Kate Cooper (vocals/guitars) and Damon Cox (drums/vocals) know they need to give it more than a band twice their size.
But the songs are efficient and electric, relying on bursting fuzz and boy-girl harmonies to fill the sorts of holes that come with such a meagre line-up. They get scrappy with their distortion on tracks like “Postcards” and “Little Little Little,” but Cooper’s voice, stays rich and clean for her pensive prose, recalling an inflection like a younger, Aussie Neko Case.
Is it a coincidence that they drop a line as enticing as “Like that good Hole album, I can live through this”? Likely not. An Horse seem unabashed about looking back a decade. And with songs as anthemic and tightly knit as these, more power to them for picking up on a good thing.
Artist: An Horse
Album: Rearrange Beds
Genre: Indie Rock
Author: Cam Lindsay
First Spin Live Until: December 28, 09
Tracklisting:
Tags: an horse, first spin
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