Givers (EP) - Givers

Just heard this song on the radio this morning - Up Up Up by Givers.  They're working on the full length album now, but in the meantime you can groove and dance to this EP.  Its upbeat, it will draw you in, and you will dance, I guarantee it.  You think you like Vampire Weekend?  These guys are better.  Instead of bashing the former, I will just say that its refreshing that poppy and repetitive now has a better representative.  I listened to Up Up Up going on 10 times this morning and the only thing that stopped me from number 11 was my rhapsody player quickly switching to their song Meantime, now I'm hooked on that.  So thank you Givers for my latest obsession.  I'm sure you'll thank them too.  Here's a video that suggests they might even be better live from their performance at SXSW. 

Cults 7" - Cults

Cults has barely cemented their style and already they're all abuzz on the internet.  You can download the 3 song 7" (the physical copies sold out long ago) or listen to their latest cut and watch the video (my personal favorite song so far).  With a little bit of time, I'd love to see where this band goes and what a full length album would sound like.

Volume Two - She & Him

Another artist I plan to see at Forecastle.  I actually really like Zooey Deschanel as an actress - she's gorgeous with that dark hair, light eye contrast and her voice always interested me, but I have to admit that as a singer she leaves me a little disappointed.  When I first listened to Volume One, I liked it.  She picks really great songs to cover, that never really do justice to the original so she has a good ear and good musical taste, she just hasn't figured out how to really make it work yet..  The melodies are kind of catchy, the single "Why Do You Let Me Stay Here" especially, but her voice is a little grating, the instrumentals a little too raw or scratchy for the type of honest, unadulterated folk sound She & Him is going for.  I was a little disappointed and I have to say I haven't listened to the album since.

Since Deschanel broke my heart with her debut I didn't even bother to seek out the follow up, Volume Two.  It just so happens I have time in my Forecastle schedule to see them and I figured I'd better be all caught up on her musical output beforehand.  In fact, this album couldn't be more boring or hard to listen to than the first, no danger of a sophomore slump here.  We can only go up.

It's the same basic formula as her first album - straightforward vocals and a slight country swing.  "Thieves"  is already prettier than I remember Volume One being.  I think the problem is actually when M. Ward (the Him) enters on backup vocals.  The two do not mesh well together and I admit I think it would be tough for anyone to suit Deschanel's voice especially when she is having difficulties of her own.

Essentially She & Him is cutesy retro pop and it stops there.  While one would hope musicians would reference the past then bring it up to date, She & Him seem stuck, simply recreating an era.  This is fine if its what you're looking for.  It's not terrible, but it's not taking music anywhere.  For now, its Deschanel's acting that will get me to visit them at Forecastle, although I'm still hoping that with time I'll come to view her as a musician as well.

Transference - Spoon

As preparation for Forecastle this weekend I thought I'd listen to Spoon's latest album released in January, Transference.  They're playing on the West Stage, 8:45pm on Sunday, saving the best for (almost) last.  It'll be my first time seeing them and I'm pretty excited even before I hear this album (I'm admittedly long overdue for a so-called fan).  They never fail to produce catchy hooks, witty lyrics, and a lot of upbeat energy - all of which promise to deliver a great live performance.  Transference is a different kind of album for Spoon, however.  It is their first self-produced album, resulting in a rawer sound which in turn is less like their pop tendencies and reveals more of their grittier indie side. 

One of my favorite aspects about this band is their elusive rhythms and tempos that seem so simple, but are so hard to actually pin down.  It separates them from the rest of the pack in lasting interest and places them higher in compositional proficiency.  "Is Love Forever?" begins this way, but as the beat becomes more cemented, the answer to question of the title becomes more evasive.  It's an interesting shift.

"The Mystery Zone" is fun, one of my instant favorites for its catchy groove and Britt Daniel's intermittent ventures into his falsetto.  "Who Makes Your Money" is another laid back song, this time punctuated with keyboard chords to support Daniel's solo singing of multiple rhetorical questions and perhaps recreate the lyrics "when all is quiet and on your own."

This quiet reflection is immediately broken up by the louder, more emphatic chords of "Written in Reverse."  Here again, music and lyrics reinforce each other.  Daniel now only sings in absolutes and the result is not uplifting, but it is effectual.

"I Saw the Light" has the swagger and soul of a 60s hit (think The Zombies, The Byrds, etc.) but is filled out with amped electronics and interrupted by an abrupt instrumental section which begins with only a drum set beat, then builds with keyboards and final the electric guitars that gave personality to the vocal section.  The ends as abruptly as it begins and after a pause the piano ballad "Goodnight Laura" begins.  "Out go the Lights" follows this lullaby theme, however, in a more ambient way.

"Got Nuffin" was released on EP a full six months before the release of the album and was the first released in over a year for the band.  Along with "Nobody Gets Me But You" it rounds out the album with a boost of energy.

This album seems to rank up there with some of my favorite Spoon albums, their last three releases.  I'll be sure to get a good spot to see them live.

This Is Happening - LCD Soundsystem

LCD Soundsystem thrives on repetition.  The percussion is understated but absorbing, the lyrics are simple but not dull and recycled, then suddenly the music explodes.  There are verses and that large overpowering plastic electronic sound found on the dancefloor.  I prefer the former, but music with stark changes somehow always works.  The synths are almost comical and his voice almost a mockery of the 80s (maybe David Byrne-esque, A-ha, Duran Duran, something to that effect), but the production is so tight in the first track and the length (8:56) is enough to convince me that he's not out to copy and create a radio ready pop chart hit from that era, but rather bask in the synthetic sounds he enjoys, and admittedly after a certain amount of exposure so do I. 

"Drunk Girls" is silly and playful like the title would suggest.  "One Touch" is for mindless dancing.  The vocals are blunt, spoken brusquely.  "All I Want" starts off slowly and is a bit sweeter than the songs so far.  It establishes Jame Murphy place in the indie scene and explains why he has such a following there. 

"I Can Change" has that Talking Heads vibe I like so much.  I've heard this one on the radio a few times and it always manages to find its way into that part of my brain where only another incredibly catchy song can erase it.  Here, I think the melody takes center stage, whereas on the rest of the album it seems to be the manufactured dance beats, but rest assured, the vocals are supplemented perfectly and plenty by them here too. 

"You Wanted a Hit" is surreal. This is in part due to the pentatonicism in high pitched notes and the long instrumental intro.  Don't worry if its not your thing, I enjoyed it and thought it broke up the album well, it soon turns into a basic drum track, easily accessible although the lyrics are caustic towards musical pop culture. 

"Somebody's Calling Me" is eerily like a broadway showtune except that its electrified, highly dissonant, and becomes increasingly melancholy instead of uping the tempo and energy like a showtune would.  It's one of the more interesting songs. 

Get up and dance to "Pow Pow" and "Home" but don't expect to be awed.  The hype seems to be over his immediately preceding album, Sound of Silver, and if it's better than this it's worth a listen. 

Murphy shows creativity and a penchant for catchy beats without the bubblegum that's definitely worth a listen or two if for nothing else, to tap your feet to.

I Learned the Hard Way - Sharon Jones & the Dap-Kings

This album opens with authority.  The brass is definitive, powerful, overwhelming and Jones' voice is veritable, she brings with her the entire history of this genre and in fact, if I was told this album was from the 1960s I wouldn't be surprised.  It's nice to have some of this sound nowadays though and luckily this group is talented enough to account for the lack of similar bands for last few decades.  Lyrically the songs display wisdom and age, topics of maturity and growth ("The Game Gets Old," "I Learned the Hard Way," "Better Things," "She Ain't a Child no More"), but its not critical or boastful, its more matter of fact and a celebration of coming out better.  The frankness is refreshing, the funk is moving, and the rhythm is mollifying.  There is a confidence displayed by Jones backed up by excellent strength in the instrumentals, not on technically, but emotionally.  The album is solidly cut it two by the instrumental track "The Reason" - possibly the most upbeat of all the songs.  Usually I would be bored by slower laid-back tempos and a lack of immediately catchy hooks, but not here.  The music keeps me involved and inspired everything second for its own sake.  It's harder to explain, but it's a love more lasting.  I will be following this band and appreciate that they can deliver me an old-school soul sound in modern times in a market saturated with everything but.

Monitor - Titus Andronicus

I'd never heard of Titus Andronicus, but apparently they have a few releases.  This is their latest and only second real album, out just a few months ago.  Like most softer punk (I'm thinking Brand New or early Fall Out Boy) the band name, the song titles are references to literature, movies, obscure references in other genres of performance art (this particular band name a reference to Shakespeare's play).  This albums is different however in that it is a concept album based loosely on Civil War concepts.  Its now\t bad punk.  I've not really been listening to this kind of music for awhile and I miss it.  The bands I used to listen to in this genre, from this part of the country have put out albums since that don't really interest me anymore.  Monitor is the kind of sound I've been looking for, but the Civil War lyrics aren't something I can really grab onto beyond a nod of well done, whats next.  That's just me though, I'm not into music to learn about history unrelated to it.

Let's talk about the music.  The vocals are raw and gritty.  Sometimes I mistook him for Conor Oberst, especially in Desaparecidos.  In addition to a mix of underground indie artists contributing to the album in various ways, Titus Andronicus incorporates a lot of instrumentation including some bagpipes, some fiddle, other nonconventionals in this genre.  Its really an interesting mix and something this area of music has been missing for awhile.

I Speak Because I Can - Laura Marling

Previously of the band Noah and the Whale, Laura Marling is part of the English folk and indie scene and well known in her own right.  I haven't listened to her solo debut Alas I Cannot Swim, but reviews of her music indicate that this album is more mature, dealing with issues relating to womanhood and responsibility.  The opening track "Devil's Spoke" was instantly attractive to me.  Its a frenzy of lyrics, banjo, and bongos, and emotional storm not often seen at the beginning of an album and perfectly matching the spinning of a devil's spoke - excellent matching of the musical with the lyrical.  Her voice has a depth and grittiness I would not associate with someone of her youth and the album does not display the generalizations I would associate with yet another young female singer-songwriter and her guitar.  Marling has the ability to demonstrate a range of musical emotions and subjects.  "Goodbye England" shows her softer, sweeter bathos, following the intense, "Alpha Shallows" which begins quietly but anxiously and alternates with consuming crescendos of strings and guitar.  "Hope in the Air" is entirely melancholic and is reminiscent of a Celtic ballad.  "Darkness Descends" is wonderful because amidst the catchy melodies and bouncy rhythm are lyrics about losing control.  The title of the album is well chosen.  Marling doesn't seem to be pleading with you to appreciate her, she does not imitate others in her genre so much as simply putting forth her best self and it works.  She writes her music because she can - it is what she does best.

You I Wind Land & Sea - Justin Nozuka

The sophomore album of Justin Nozuka is equally as enjoyable as his debut.  This one shows some growth, but seems more mellow, though definitely no less soulful.  The singer-songwriter opens this album with sparse instrumentation, a driving beat and his voice above it all.  The tempo picks up, as does the beat and the last third of the song really fills out.  It is a song representative of Nozuka's repetitive lyrics, but catchy melodies and emotional output.  While the majority of the songs are acousitc, some accompaniment, electric guitars, additional percussion, are added as each song grows and develops.  The lyrics are generally about the typical love, women.  Sung softly and with varying instrumentation most are interesting through to the end.  What I love most about Nozuka is his sparse use of blues elements and influence and when his voice shines at certain moments - ornamentations and dancing around certain notes. He shows a maturity in his songwriting beyond his 21 years, both musically and lyrically that few in this genre do.  On his debut, Holly, there were a few songs that instantly caught and held my attention ("Golden Train," "Be Back Soon," "After Tonight," and "Criminal").  This album runs together more in my head, but I like "Gray" for its soaring qualities, "Souless Man" for the use of the piano, and the title track for its sunny rhythm and mood.

Contra - Vampire Weekend

This sophomore album is more mature than the debut, but still a little empty and unmatured.  That being said, it's upbeat and catchy.  The synthetic sound is meshed with a typical rock band instrumentation, a sting section, and a variety of percussive sounds.  The world music influence, specifically African, that dominated the debut album, here is more understated, drawing more from Afro-pop than more traditional or stereotypical African influences.  Within this soundscape, political issues are subtly explored, giving the album some weight, but not enough for it to be too heavy to enjoy on a lazy summer day.

Individually there are moments that are interesting, but each song follows the same format - same melody, same progression - it gets a little repetitive.  How they manipulate it is where the interest lies, but only briefly.  They know what works to easily catchy the ear of the general public and they milk it.  It's easily accessible, the songs are short, the album is very short, and while I'm entertained enough to listen all the way through, nothing made me go back and listen again, nothing really stood out.

Gorilla Manor - Local Natives

This is the first and as yet only album by Local Natives.  It is driving, repeptitive, catchy rhythms that will carry your ear from start to finish without boredom.  Then there are some interesting harmonies, some typically indie guitar riffs, but overall its catchy enough.  The vocals have a similar quality to those of Nate Ruess of the Format, but sang less punctuated and more mellow.

My first impression favorites included "Wide Eyes" and "Who Knows Who Cares."

Played in Space - Something Corporate

This was my favorite band in college.  Now they have this compilation album, which seems a little weird since they've only released two full length albums.  In the meantime, Andrew McMahon has been working on his solo project, Jack's Mannequin, and battling leukemia.  Both bands have a great sound.  McMahon hit the keys with the same passion in his voice and songs are melodically well put together.  This album features remakes of songs that were a little raw when they were first leaked on the internet or unofficially released.  Some of these songs including "Wait" and "Letters to Noelle" were my favorites.  Its maybe better to buy this album on Itunes since that is the only way to get "Letters to Noelle" and then go back and buy the rest of the songs on North and Leaving Through the Window.  Ultimately it is the second disc of the set that makes it worth buying.  "Watch the Sky" and "Konstantine" finally make it on an album, where they belong.  It's very exciting that Something Corporate is back on tour, although with very limited dates, but I'm eagerly awaiting new songs from either this band, even with new members, or Jack's Mannequin.

El Turista - Josh Rouse

My friend recommended this album to me.  I love it from the first phrase - a simple repetitive bass line (repetition being one of my favorite musical devices) and then piano enters with crisp clear chords and I'm hooked.  Here's the thing about this album, cleverly titled El Turista, that really appeals to me - Rouse is playing with multiple cultures, languages, and influences.  He sings in both Spanish and English.  I hear a bossa nova rhythm and mood, and maybe its my devotion to Paul Simon, but I hear his vocal influence, interest in rhythm, and play of layers, both culturally and musically.  Its a similar concept to many Paul Simon albums and songs, a white American male playing with music outside of his immediate realm, specifically music from Latin America, both with a strong interest in Brazil, displaced from his inspiration, recording and producing the final product largely in America (Nashville for Rouse).  Where Simon was more interested in the musical languages of specific artists or groups, Rouse uses bossa nova as a whole as his muse.  Rouse's appropriation is more subtle, like earlier Simon, but equally as effective.  "Sweet Elaine" and "I Will Live on Islands" are the best example of this.  This is a good review of the album: <http://www.popmatters.com/pm/review/121060-josh-rouse-el-turista>