While we wait for the next proper full length album from Arms and Sleepers, they've given us a mini-album to help pass the time. So until "The Organ Hearts" drops on May 13th, here is "Nostalgia For The Absolute".
I was first introduced to the music of Arms and Sleepers with their fantastic 2009 release "Matador", one of my favorite albums of that year. On that release, the duo of Max Lewis and Mirza Ramic mixed electronic music and beats with live instrumentation and vocals to beautiful effect. "Nostalgia For The Absolute" finds them returning to ambient soundscapes.
There are the occasional beats to be found ("Lisbon", "The Hidden Sea"), but the majority of 'Nostalgia' is made up of short, two to three minute ambient pieces. The whole thing clocks in at under 28 minutes, so it truly is not meant to be taken as a proper "album" despite having 13 tracks. Highlights include the pretty, repeated piano line of "Crash", the ghostly howl of piano piece "Lovers Arctic", the somber piano solo "The Dying Animal", and the lush "Rire Jaune" that closes this collection.
I'll most certainly be reviewing "The Organ Hearts" as soon as a copy is in my hands. In the meantime, lay down, relax and drift off with "Nostalgia For The Absolute". It makes for a lovely listen.
"Nostalgia For The Absolute" was released as a download only March 4, 2011.
This one surprised me. I have never been a big fan of Cracker, or Camper Van Beethoven for that matter. But David Lowery, one of the founders of both bands, steps out on his own for his first solo album and its a success. "The Palace Guards" definitely exceeded my expectations.
What was not a surprise is Lowery's sense of humor is intact. He screams in his defense on "Baby, All Those Girls Meant Nothing To Me" begging for forgiveness, while crawling on his hands and knees 'through all my thrown out stuff'. With searing guitar, it's a killer rock track. The title track stops and starts with Lowery's sarcastic lyrics ('I love you and 'cuz I do don't ever leave me/I'll smash your stuff up if you do'), before marching into an acoustic rock track.
The heart of the album is found in its slower material. There are a number of honest to goodness lovely ballads here that won me over. The slow twang of "Deep Oblivion" features an understated vocal performance from Lowery. Acoustic ballad "Ah You Left Me" is my personal favorite, an outright expression of pain over a break-up with a beautiful melody and chorus. "Marigold" is a sun burnt, string laden affair that feels like the soundtrack to a summer sunset. Gorgeous.
It's always nice to be pleasantly surprised by an album you weren't expecting to care much about. As enjoyable a listen as "The Palace Guards" is, here's hoping Lowery has plans to continue putting out solo material in the future.
"The Palace Guards" was released in the U.S. February 1, 2011 on Savoy/429 Records.
As multicultural a rock band as you're likely to find, California's Young the Giant takes all those various backgrounds and influences and mixes them into a joyous noise on their self-titled debut. On the surface, this is rock music infused with a shot of melodic pop. But dig deeper into this album and you'll catch a taste of many other styles that have rubbed off on the five members.
Starting with Indian-American lead singer Sameer Gadhia, Young The Giant also consists of French Canadian, British, Persian-American and Italian-Jewish members who all bring their individual tastes to the table. Gadhia's unique voice is joined by just a strumming guitar to open the album on the mid-tempo "Apartment". That gives way to one of the numerous standout tracks on the album, the anthem "My Body". Tailor made for blasting through the speakers at a packed sports arena, it's no surprise I was first introduced to the song as the theme for Fox Sports' Detroit Pistons coverage all season. Gadhia sings 'My body tells me no/but I won't quit 'cuz I want more' during the infectious, fist pumping track. Not surprisingly, the song became a Top Ten Alternative Rock track in no time and, to these ears, it's one of the best rock tracks you'll hear this year.
The many other highlights include the made for tops down in the summer swoon of "I Got", which reminds me of a Vampire Weekend song I would actually like, the sweet tasting melodies of "Cough Syrup", and the power chords of "12 Fingers". Sticking out like a sore thumb, but in a good way, is the ballad "Islands", the only true slow track on the album. It builds to a slow simmer with Gadhia going in and out of his falsetto until a subtle, sexy groove starts halfway through. It'll truly take you away to a lush, tropical island, a wonderful vocal performance and calming oasis towards the end of the album.
Young The Giant is yet another band that is restoring my faith that good rock music is still being made out there in 2011. And their album of the same name is another entry in my Best of 2011 list. Don't miss this one.
"Young The Giant" was released in the U.S. January 25, 2011 on Roadrunner Records.
The Lonely Forest make perfect sense as the first signing to Death Cab For Cutie member Chris Walla's new record label Trans. The Anacortes, Washington based band specializes in a brand of indie rock that easily will appeal to Death Cab fans. There are harder rock tracks, dreamy, melodic burners, all underscored with a pop sensibility. Now after two independently released albums, they make their major label debut with "Arrows", and its a great one.
The quartet first came to my attention last year when I saw them open for Margot and The Nuclear So And So's at the Blind Pig in Ann Arbor. From the opening guitar strum of "Turn off This Song And Go Outside", which opened their set, I was hooked. That song, with it's call to 'turn off this song, you can listen to it later. Go outside' is featured here as the first burst of energy after the album opening acoustic ballad "Be Everything".
The only other real subdued moment on "Arrows" comes in the form of one of its stand-out tracks, "I Don't Want To Live Here", a simmering ballad that to these ears owes more than a nod to Ben Gibbard and company. I am sure The Lonely Forest doesn't want to hear a million Death Cab comparisons just because Walla produced this album, and they are far from a sound-alike, but this particular track screams "Plans" with it's key piano lines and atmospheric, swirling guitars.
The rest of "Arrows" is straight up, killer indie rock the way I like it. After declaring "the bullshit never ends" during "(I Am) The Love Skeptic", lead singer John Van Deusen concedes "I want to be addicted to love" on the following companion track, "(I Am) The Love Addict", with its bouncing drum beats and jangly guitars. New single "Coyote" will instantly hook you with its soaring chorus. "Two Notes And A Beat" sounds like a lost New Order track.
There's not a bad song on "Arrows", and some of its best are saved for last. "Woe Is Me...I Am Ruined" has bubbling keyboards running under subdued verses before a shimmering, slamming chorus blasts the doors off. It's simply a great rock & roll song as is the next track "We Sing In Time" which boasts another unforgettable chorus, something The Lonely Forest delivers on track after track.
Bands like The Lonely Forest are the reason I always make a point to get to shows early enough to catch the opening acts. From Grandaddy to the aforementioned Margot and so many more, I'd hate to think what my music collection would look like had I not taken the time to catch these previously unheard of to me bands' opening sets. And trust me, with an album this good, The Lonely Forest will not be opening for anyone for too much longer. Highly recommended.
"Arrows" was released in the U.S. March 22, 2011 on the Trans/Atlantic label.
I hate seeing the continued references to this being R.E.M.'s "comeback album". First off, with the exception of the 2004 dud "Around The Sun", I've enjoyed the band's post-Bill Berry work. I don't care if it didn't sell well, 1998's "Up" is one of my favorite R.E.M. albums, even if it was quite the musical departure from their earlier work. 2001's "Reveal" was much less subdued and another overlooked release in their discography.
Besides, we already heard a lot of this 'comeback' talk over their last release, 2008's "Accelerate". With the help of producer Jacknife Lee, R.E.M. certainly rocked harder than they had since "Monster", but the solid tunes were still there as well. It got them back on U.S. radio and kept all the wolves howling the band was creatively spent at bay.
So that brings us to their latest, "Collapse Into Now". Lee is back behind the boards and after the success of "Accelerate", you'd think that would bode well. However, there is something missing here and its tough to put my finger on it. I've given this album numerous plays and it just falls flat every time.
There are certainly strong moments. "Uberlin" is a lovely ballad with that recognizable acoustic sound that screams "Out Of Time" era. It's the best track on here. "Every Day Is Yours To Win" carries an uplifting message with a lullaby like guitar line. As a matter of fact, the ballads are the strongest points on the album. The waltzing "Oh My Heart" and piano led "Walk It Back", with a wonderfully vulnerable vocal by Michael Stipe, are the other keepers here.
Less impressive to me are the rock tracks. The opener, "Discoverer" comes across as bland, "That Someone Is You" doesn't even clock in at two minutes and feels every bit a toss-off, and "Alligator Aviator Autopilot Antimatter" is as silly as its title, with a guest vocal by Peaches no less. I'd almost rather have KRS-One appear on an R.E.M. song again before a Peaches guest spot. I said almost.
"Collapse Into Now" is certainly not a dog like "Around The Sun" was. I can see how it would appeal to long time fans of the band as many of the styles and sounds R.E.M. has utilized and perfected are here. Taking the album title literally, they're taking everything they're known for over their long, often brilliant, career and updating them for 2011. I'll come back to a number of the songs here as well, there are certainly great individual tracks. There is just too much weak material, for my tastes, to make a cohesive, enjoyable album from start to finish. I know this is getting a lot of fawning reviews. Sorry, I'll take "Accelerate", (or "Up" and "Reveal"), as better overall, latter day R.E.M. albums. Too much of this just feels forced to me.
"Collapse Into Now" was released in the U.S. March 8, 2011 on Warner Bros. Records.
The new album from my favorite Irish rockers Bell X1 is fast approaching and the first single release is now here. "Velcro" is the first single from the upcoming "Bloodless Coup", out in the U.S. April 12 on Yep Roc Records. Those who were lucky enough to catch the band's acoustic tour last year were treated to a stripped down version of this one. A killer buzzy keyboard and bass line drive the studio version along before a big conclusion. Another great track from Paul Noonan and company.
Here are the videos for both "Velcro" and another track from the new album, "Hey Anna Lena", that leave me very anxious for "Bloodless Coup". Bell X1 made a breakthrough in the States with their last release, "Blue Lights On The Runway" and the hit "The Great Defector". I'm liking the direction of these new tracks even more than 'Blue Lights' and I was a huge fan of that record to begin with. Top notch.
If you're not familiar with Weaver At The Loom, you should be. Their 2007 EP "I Was Searching And I Found" was one of my favorite releases of that year, and brought them almost universal praise from anyone who reviewed it. It seemed this band was on the verge of something big with such a strong debut release.
However, as best can be described on the Weaver At The Loom Facebook page, a lot happened to them from the time that EP was released to today. To sum it up, the Minnesota based band grew from three members to five for their final tour in 2009, before they literally became stranded in Louisiana for a month due to a broken down van, draining their finances to eventually get home. Upon returning, the realities that do in many an indie band reared their ugly heads and the band was down to two members, Izaac Burkhart and songwriter and vocalist Dan Smith.
The two tried to make things work as a duo but eventually agreed to part ways with Smith, who started the band, continuing to record under the name as a solo artist. So that brings us to "Reconstructor", the first new music from Weaver At The Loom in four years.
"Reconstructor" is a two song single, more of a preview for the next EP Smith is working on. Both tracks are engineered and produced by Burkhart, so the band's sound that endeared them to so many has not been lost. "11 1/2 (My Favorite Age)" carries on with their atmospheric rock and Smith's incredibly soothing vocals. It's great to hear this voice on new music again. There is a bit of a stuttering electronic beat behind the live drumming, but other than that this song could have easily fit on the debut EP.
Second song, "We're Wild Animals (We Always Were)" is a slower track, carrying on the melodic rock Smith seems to have perfected. There is again a mix of electronic and live drums and prominent guitar work once the song kicks in.
It's only a two song teaser, but "Reconstructor" proves Weaver At The Loom lives on in Smith's hands. He promises to have an EP finished by the summer and these two tracks indicate the long wait for new music was worth it. I'm very happy to see Smith has carried on and look forward to what he is in store later this year. Here is to perseverance.
"Reconstructor" was released as a digital download only in the U.S. on January 14, 2011.
This one is sure to be divisive. George Michael covers New Order and goes Auto-Tune crazy in the process. First off, I'm glad to see something new from George because that means he is in the news for his music again instead of for his ridiculous drug and drink fueled antics. The man is simply too talented for all that nonsense, and here's to hoping all of that is behind him and there is more new music to come.
So what have we here? Well first off, this is a charity single for Comic Relief in the UK, so its tough for me to sit here and slag it off completely. It's unfair to compare it to the original, as New Order's is a classic, plain and simple. George has certainly put a new spin on it, slowing it down and giving it quite a somber, yet somehow uplifting take. The Auto-Tune is bothersome to me, for someone with such an amazing voice, it seems unnecessary. Imagine this arrangement with George delivering the vocal in his pure voice. It would have been preferred. Here is the official video you can judge for yourself.
Still, I hope legendary lyrics like "I used to think that the day would never come/I'd see delight in the shade of the morning sun/ My morning sun is the drug that brings me near/to the childhood I lost, replaced be fear" prove prophetic and that George Michael has turned his life around. He's one of the great pop music talents of our time and hopefully some new, original music is on the horizon.
"True Faith" has not been released in the U.S. at this time. It was released digitally in the UK and Europe March 13, and physically March 14, 2011.
Although Dale Earnhardt Jr. Jr.'s debut album, "It's A Corporate World", has been pushed back to a June 7th release date, here's something to tide you over. The first single from the Detroit duo's first full length. "Morning Thought" expands on the framework first shown on the EP "Horse Power". The electronic beats are still here, but so are the brilliant pop sensibilities that Detroit music lovers admire Josh Epstein and Daniel Zott for. Zott handles the lead here, with Epstein on backing vocals. It's no wonder this project has gotten so much well deserved national attention. Two of this area's finest songwriters, a much anticipated release.
"It's A Corporate World" will be released June 7, 2011 on Quite Scientific Records.
This is Japanese-American singer Caroline's second album, the follow-up to her 2006 debut "Murmurs". She possesses a rather child-like voice, but it seems well-suited for this type of music. "Verdugo Hills" exists in an ethereal, dreamy, electronic soundscape. That means a lot of minimalist bleeps, bloops, beats, keyboard washes and vocal swirls running in and out of each track.
Things start out on a high with the heavenly "Swimmer". It's a gorgeous, understated track with a warm, inviting melody. It's like a soundtrack to the most stunning scenery your eyes have ever witnessed. Sadly, nothing else on the album even comes close to what Caroline accomplishes with "Swimmer". There are a number of other decent ballads, amongst them ""Lullabye" and "Pink Gloom".
The problem with "Verdugo Hills", and it's a problem only the best artists in this genre can avoid, is everything starts to blend into each other. I wouldn't call it a dull listen, but it certainly has to fight to keep your attention through its 38 minutes. There are modest beats on tracks like "Sleep" and "Seesaw", but it's hard to get past the perception everything sounds so similar.
None of this is to say I am trashing this release. There are enough lovely moments to make it worthwhile as something to put on to relax to. But peaceful background music is about all it eventually amounts to. Although not an official "video", here is a YouTube clip for "Swimmer" so you can enjoy the best track on the album. If only the rest of the album had maintained this quality.
"Verdugo Hills" was released in the U.S. January 25, 2011 on the Temporary Residence label.
