Minimalism: less is definitely more

Whip out those headphones.

A few days ago I wrote about Gustav Holst and briefly about classical music. I mentioned a man named Steve Reich. Reich is a pioneer of American composition, spearheading the transition from full orchestral arrangements to minimalism. Reich is one of the best at using loops to create the craziest of musical harmonies while maintaining a steady pulse. One of my favorite Reich tracks is Music for 18 Musicians. He begins the composition by playing two identical loop tracks of the same note on the same brand of player. He sets the players to the same loop rhythm. Such a weird way to begin any kind of song, right? How can the same notes played simultaneously provide any sort of basis for a song to emerge? Here is where Reich displays his ingenuity. Although the recorders are identical, no two are exactly the same. As a result, the loops split from each other and take on a life of their own. It's the coolest musical mind-f*ck I have ever heard. After the loops split, the rest of the orchestra come in. Each instrument plays in staccato and in perfect harmony with the underlying loops. You can check out movement one of this two movement piece here.

Keeping that in mind, I now turn to how this style has influenced modern artists. S. Carey is a musician caught between two distinct genres. He subscribes to the acoustic and soft styles that define folk, but also resembles minimalist composers like Reich. Many of you have already heard S. Carey's work without realizing it as he is the drummer for Bon Iver. But S. Carey's solo work takes on a unique character. His debut solo album, All We Grow, is in one word: beautiful. The pieces on this album are more experiments than they are formal songs; he plays with combinations of harmonies, layering and layering until he likes what he hears. They don't follow any sort of sequence or pattern; they just continue until a new pattern layer emerges which envelops the old. The result is a cacophonous series of increasingly beautiful harmonies that stuns the ears. Maybe a third of all the tracks combined resemble songs as one would notice in the contemporary sense of the word (I say combined because some tracks will begin experimentally and then evolve into a standard song). This dichotomy makes the album eclectic and diverse. Have a listen to this track off of All We Grow (by the way, this music video is gut-wrenchingly heartwarming). See how he uses the minimalist style coined by Reich and incorporates that into his folk influence. The piano part acts as the loop but also adds to Reich's established precedent by going slightly minor at times. It's really quite cool how the two styles come together. Verdict: 4.7/5. Favorite songs: Move, We Fell, In The Dirt, Mothers, and Broken.

Best, Jonathan

Mansions on the Moon (presented by Diplo and Benzi) and a chillwave

These two groups can be considered separate and together. They're really completely different, but the former did a remix of the latter so I decided to do them both at once.

I just got off the phone with my roommate from college of three years. After catching up for a bit, he suggested I listen to this new album, Paradise Falls, by Mansions on the Moon (a duo from the former Pnuma Trio). This group has some pretty incredible connections, working with the likes of Diplo, DJ Benzi, Pharrell, and Chiddy Bang... Woah. Why have you never heard of them, you ask? Well, because MotM is not as great as their leaders. BUT, they are good... just not great. I am normally not a fan of this type of pop, but these guys bend the metal cookie-cutter molds which their predecessors so brilliantly established. Stick them in a club setting where listening doesn't really matter, and these guys can challenge anyone. Listening to the album leads to a different reaction. One of the defining characteristics of this genre is how there is never a dull moment, and although there is constantly something happening on this album, it's not very conducive to their sound. You understand what they're trying to do, but they're just not doing it. My assessment: I think they're over produced (sorry Diplo, this might actually be your fault), and they overuse processed vocal harmonies. There is too much going on at any given point in time; tone it down just a little and this album might play differently. For example, the high melody is all over the place on the second track; it travels instead of being precise and you lose the traveling melody in the bass and other synth. This is not to say these guys will be lost in the cold. After a little maturity as an established duo, I'm sure they will be on any DJ's playlist. I still find myself bobbing my head, grooving to their beats, and relating to their lyrics. Thus: 3.8/5. You can download Paradise Falls for free on their website. Favorite Songs: Broken Paradise and She Makes Me Feel. The one thing that did surprise me, however, is their acknowledgment of indie music for providing beats that are just as good, if not better, than those of major producers today. And this brings me to Washed Out...

I first heard Washed Out back in college. They were the first band I had encountered of the chillwave genre. How to define chillwave... Technically: the name of the game is effects, sampling, heavily processed vocals, and synth. In relatable terms: put on those wayfarers, head to Cali, find a beach with surfers galore, stare into the abyss until the sun sets while sitting in a tattered old beach chair, and be sure to surround yourself with friends who can finish your sentences. It also calls for sitting on your porch or backyard deck as the sun blares down. That is what I would call chillwave. Washed Out's Life of Leisure is an album I cannot live without (he has since released High Times, but start with LoL). It was a first, and you never forget your first. His sound is reminiscent of Neon Indian, Toro Y Moi, or Small Black, but LoL also has shades of Real Estate and Best Coast hidden in the production value. The album's overall concept is romantically nostalgic as he borrows from 80s' synth-pop. Feel It All Around, the fourth track on this EP, is the strongest. You know that feeling of haziness and blurriness experienced after having your eyes dilated? I imagine he wrote this song in response to one of those visits. Verdict: 4.5/5.

Now... how do MotM and Washed Out relate? The sixth track on the MotM album uses Feel It All Around as its beat. It's significantly sped up, but that is all it needs to be one of the strongest tracks on MotM's album. Lame relation, I know, but I got excited when I heard it.

Washed Out's version: http://www.youtube.com/watch?v=-DkslcOhytU

MotM's version: http://www.youtube.com/watch?v=uJK8KTQ7fUw

Side note #1: Ultra is so soon and I'm pumped. For those of you who have not looked at this year's line up, you're missing out because it's unreal: Chromeo, Boys Noize, Tiesto, Pendulum, Holy Ghost, Cut Copy, NERD, Crystal Castles, MSTRKRFT, The Disco Biscuits, !!!, and more... It's sure to be a great weekend.

Side note #2: Pitchfork Music Festival tickets go on sale this coming Friday. The lineup can be found here. It's one of the best I've seen in years, and you can bet I'm going to be doing anything I can to make it to Chicago in mid-July.

Side note #3: Battles is back! Well, sort of... they've announced their new album Gloss Drop, but it will be without one of their original members. Their last album, Mirrored, was one of the best releases of 2007. This one could yield a different result.

Best, Jonathan

A quick thank you and surprise track

I just want to extend a warm thank you to all those who have been reading. As the top of this blog suggests, I initially started this because a few of my close friends scattered across the world were badgering me for new music. I'm thrilled to say that in the few days the site has been up, it is just shy of 300 hits from people in 8 different countries. This is not at all what I had signed up for, but I can't tell you how much I'm enjoying it and watching it grow. I'll stick around if you will.

As a gift, I encourage all of you kiddies to learn your ABCs: http://www.youtube.com/watch?v=IpIhzFh0yw8&feature=relmfu

Also, a big congratulations to William and Mary's Ice Hockey team for winning the BRHC Championship! All of your Facebook statuses have affirmed the speedy transition from when we couldn't win a single game all season to now. Kudos boys.

More in the AM.

Best, Jonathan

Bill Evans and Jim Hall, two jazz greats, together; and classical music at its best

I'm just going to tell you right off the bat: 5/5. If I could give it anything higher and still have it make sense, I would. Bill Evans was arguably the greatest jazz pianist to ever live. He played with legends such as Miles Davis, Stan Getz, Scott LaFaro, and Charles Mingus. It's easy to listen to his work and recognize there are not even few who are as innovative and masterful as he; he's in a league of his own. Jim Hall is also a master of his six-stringed instrument. He plays fluidly as if his hands were bathed in butter. Both are gurus at constructing melodies and both are incredible chord arrangers when playing rhythm. And here's the kicker, the guitar and piano are both C-instruments; they compete for space in any band. But on Intermodulation, we hear them working together and feeding off each other. This is a six-song album. Every track contains only the two instruments. One artfully dances around in the background while maintaining distance from the lead. They trade multiple times throughout each song. The mood is one of reflection: listening is like taking a half-hour walk by yourself along a river's edge while looking at peaceful city lights and having the stars above. I can't say enough good things about this album. It's a must have for any jazz lover and a must have for anyone new to the genre. Favorite tracks: My Man's Gone Now, Turn Out The Stars, and All Across The City.

I pulled out an old classical favorite last night as I fell asleep: The Planets by Gustav Holst. I don't know much about classical music in comparison to my knowledge of most other genres. I did take a class called The History of Western Music that taught me way more than I had anticipated about classical music (we began in the baroque area with the likes of Guillaume Dufay, Hildegard Von Bingen, and Perotin, and traversed history to the modern classical greats like Reich) and the violin is the only other instrument besides the guitar that I have played seriously, but that hardly makes me knowledgeable. Regardless, I've always enjoyed Holst's journey through the cosmos. My favorite piece is the opener, Mars - The Bringer of War. It begins with the strings section playing a march, but not a Pomp and Circumstance march, a heavy march - one that clearly depicts two armies approaching the clay-colored and dusty battle ground. When the timpani come in, the song explodes with incredible power. The song builds in a frenzy as the brass section loudly joins and the strings swirl. It culminates in a blaring crash and then immediately destructs as if both armies had just completely annihilated each other. The dust then settles and the strings begin to build a swirl and the trumpets lead the powerful brass into a fierce and determined march. The instruments are all guided by a piercing snare. The orchestra pounds its way through with unstoppable force until it's enveloped by another frenzy of string activity in fortondoando (dynamic marks of more than three fs (forte - "loud") - this song is one of the very few in classical music that has ffffs twice). It culminates in the most powerful few seconds of music I have ever heard and then shatters as every instrument hastily descends atonally, ending on a unified note. Aaannnddd that's how the record begins. When I had first heard this classical masterpiece, I was exhausted after the first composition. It's so incredibly intricate and heavy that it actually exhausts your listening capabilities. Not to fear though, the next piece, Venus - The Bringer of Peace, is feather-light. Holst is great at exploiting this kind of auditory exercise so that, by the end of the record, it would be interesting if you found it boring. Easily a 5/5, but that's like saying Mozart's Symphony No. 40 in G minor is easily a 5/5. No shit.

Best, Jonathan

Bowie binge, but it's not Bowie, and a hip-hop single

I wrote this at 2:30 am last night and forgot to click publish... my first sentence explains why.

I'm pretty drunk right now; bare with me. Diamond Dogs is one of my favorite albums of all time. Few bands are able to rock it like David Bowie. But one song off of Wire's latest release, Red Barked Tree, sounds strikingly similar to Bowie's glam-studded and sex-ridden style. I think it's because of the lead singer. His voice is glorious and touched lightly with a swell effect on this track. Not only that, Please Take has thumping drums, processed guitars, and ping-pong bouncing bass - all staples of The Cure in the 80s: http://www.youtube.com/watch?v=hXCKLJGLENs. This is not surprising though as The Cure have admitted that Wire is one of their influences. Combine Bowie and The Cure... I don't know how this can be bad (I even think there is a little bit of The Police hidden in here... yay 80s' Brit-dream-pop!). I am floored with this song. Please Take by Wire deserves a 5/5. Listen here with headphones: http://www.youtube.com/watch?v=ULtTs8JtWzQ. Better yet, buy the song.

I'm on a Bowie-like binge right now for some reason, but I'm not searching for it. It's falling into my lap. Destroyer's ninth studio album, Kaputt, is also reminiscent of Bowie. Dan Bejar, the frontman, is a nutty Canadian and a self-acclaimed Euro-blues singer-songwriter and guitarist. I strongly suggest listening to this album with headphones. He loves to color with crazy synth effects and messes with the balance of the L/R channels. This is especially noticeable in the first song, China Town, where the synth dominates with varying effects, and each effect has a noticeable swell. There are also trumpet and sax solos. It reminds me of what it would probably feel like to be Mario when he gets a winged hat in Mario 64. The second song on the album, Blue Eyes, centers on multiple guitars and a trumpet. It has a really light and jazzy feel. The third song sounds like 80s' pop, so here again the synth is going wild. But the most noticeable instruments are the constant bass and one recurring high-pitched bass melody. I could be frolicking on clouds with this song playing appropriately as the soundtrack. See a trend here? This lovely album is really light-sounding and freeflyingly-upbeat, which makes it great for any type of listening situation (freeflyingly is not a word). It's also not overly ambitious but is versatile enough to maintain the same feel throughout without all the songs resembling each other. I give it a hesitantly generous 4.8/5 because I'm liking it more and more as I continue listening. Definitely put this album into your music library soon. Favorite songs: China Town, Baby Blue Eyes, Poor In Love, Downtown, and Bay Of Pigs.

A while back I was watching Entourage with a friend; he and I both shut up pretty quickly when this song closed out the episode. FreeSol signed to Justin Timberlake's label about 5 years ago and then quickly fused forces with Interscope. He has allegedly been recording his debut album (he has a few mixtapes and singles that blow), but it has been 5 years... and that Entourage episode was last summer. I have no idea what this progressive hip-hopper is waiting for. The single off his supposed album is Don't Give It Away. This song is solid. It's rare that a hip-hop artist produces a formidable love song, but this is an exception. The head-bobbing beat pumps along almost in double-time, but slow down that head bob and it can also be a swirling/flowing beat. The bass is heavy heavy heavy, mostly because it's descends deep on the fretboard of what I would assume to be a 5-string. The track is colored on the high end with a cool little synth riff and at times a pretty mean guitar melody pops up. Check it out here: http://www.youtube.com/watch?v=tS4H8blCs_M. I give it a 4/5.

Best, Jonathan

Two keepers here: a lo-fi and a folk

Eternal Summers is another one of those indie rock groups that sounds better in the summer than it does in the winter. I take all the blame for this one though because their debut album, Silver, has been sitting in my downloads folder since the end of the summer. My bad. Now that I listened to it, I'm regretting my storing it away in the bowels of my computer like my "Fall 2010" law school folder. What's even more upsetting is that this duo is from Roanoke, VA... a hop, skip, and a jump from my college town of Williamsburg. I'm having this very weird moment right now where I'm dying to go back to Rolfe Road to play catch in the back yard. We'd always have music playing for those lazy summer days right before school started, and this album would be perfect for a long drive down the Colonial Parkway to the beach or just lounging on the front porch of the lodge with a beer and barbecue. This duo excels at demonstrating how versatile lo-fi guitar-drum teams can be. This album is very real - you can hear when they screw up. It's as if they just did 10 takes with absolutely no computer processing, picked the best one, and said, "Okay, I guess that'll do." I think that's enviable, and I think that's what much of modern music is missing. But alas, I'd rather be listening to something else. There's something very special about the carefree summer lifestyle compared to the flu-ridden and drearily-cold-and-snowy mentality of winter (although, I have to admit it's fun living in a place where it's summer all year long). Definitely do not take my advice on this one and definitely grab this album. Unlike the suspect Smith Westerns' album I wrote about yesterday, I know this one will be on my summer playlist. For now, I give it a 2.8/5 because I can't think of a time until summer when I will want to listen to it again. In a few months, I expect it to be at least a 4.2/5. Favorite songs: Pogo, I'll Die Young for Rock n Roll, and Bully in Disguise.

I have a very strong appreciation for folk singers. But that also means I'm very critical of them. Giant Sand is completely new to my folk collection. This guy is awesome; I'd lump him with the likes of The Tallest Man On Earth and J. Tillman. There's one thing though that sets Giant Sand apart from the other two: Howe Gelb, Giant Sand's frontman, doesn't play the prominent instrument. That belongs to the killer guitarist on this album. Seriously, kudos to him. But when Gelb is playing piano, it's almost always completely overshadowed by the five piece band (the exceptions are Chunk Of Coal, Lucky Star Love, Time Flies, and Love A Loser in which he solos wonderfully). I've decided that doesn't matter though. This guy is from Arizona, the band is mostly from Denmark. One listen to this album and you know who did all the work. He is bluesy, country, wild-westy, jazzy, rocky, and folky all on one album; and man do he and his band do it well. The percussion is almost all done with brushes, the guitars have low distortion on them to give the album a rustic appeal, and a steel guitar provides color commentary. Gelb is kind of a bad singer, but an excellent story teller. His lyrics are captivating: I was lonesome / and the wind blew bold / Lonesome / and the wind blew bold / I was lucky she had the eye / to find the diamond in / this chunk of coal / The story's been told a thousand times / but it never gets old / You don't miss your water 'till your well runs dry / You don't miss your spark 'till the night turns cold / But everything she touches turns to gold / She had the eye / to find the diamond in / this old chunk of coal. Despite his great poetic lyrics and story-telling rhetoric, it's completely noticeable when he's off key. But that does not subtract from the album because his singing style adds to the maturity and appeal of Blurry Blue Mountain. Sorry, I should have mentioned the album name earlier. Easily a 4.7/5. Picking favorites for this album is difficult because all the tracks offer something different, and they're all great. But I'm going with: Chunk Of Coal, Spell Bound, No Tellin', Time Flies, and Love A Loser.

I cannot stop listening to the Kisses album I suggested two days ago. If you haven't had the chance to hear it, I definitely think you should. The more I do, the more I like it.

Also, as a note, I'll probably be posting less over the weekend.

Best, Jonathan

A few great singles and a highly anticipated album

The first single to share is Eastover Wives by Dent May. I'm loving this song. It sounds like something that would be played during a late 80s' prom, but with a jazzy touch. But the most intriguing aspect of this song is the lead singer's voice. It's haunting... like Elvis Costello on steroids. It starts with a nice sax and then a stereotypical 80s-sounding bass chimes in with a really catchy riff. Listen carefully for the guitar, it's changy but adds a needed root to the song. The words are comical, but also thoughtful. For example, "High school sweethearts / They only talk about the weather / Never sleep together / Now she's looking for some pleasure / She'll get around / Yeah, she'll get around." The song is full of these interesting moments that at first seem funny, but after close inspection remind you that the future is more surprising or disappointing than the present and may not be what you hoped. You can stream it here: http://cdn02.cdn.gorillavsbear.net/wp-content/uploads/2010/08/02-Eastover-Wives.mp3. I give it a 3.8/5.

The second single to share is Lemonade by Braids. This song is on the album Native Speaker. I have yet to finish listening to the album, but what I have heard I really like. Lemonade is the opener. Its overall airy feel is created by a perfect combination of echos, delay, and flanger. Similarly to Dent May's frontman, Braid's frontgirl also has a unique and beautiful voice that carries for miles and miles. This song's lyrics are also pretty funny: "And what I / What I found / Is that we / We're all just sleeping around." But then there are times like these when she surprises with insight: "I told him to get fucked and then get laid / Now what do you say to a man who's got no taste / Who's really got no potential / Except to procreate / So inessential." Wow. Despite these strong sentiments, this song is actually upbeat and can be put on repeat without becoming monotonous. You can download it here: http://www.mediafire.com/?mtby2nqwyzw. I give it a 4/5.

My final single to share tonight is Home by Glasser. The song's verses are rather stale and don't really seem to be moving in any concrete direction. The song's chorus, however, is jaw-droppingly beautiful as empty space is saturated with crazy harmonies of her overlapped voice. Check it out here: http://www.youtube.com/watch?v=rCitAejfYQ8. Overall: 3.5/5.

I cannot find the new Bibio anywhere. Anywhere. Mind Bokeh is due March 29th on WARP Records, but a future release usually doesn't deter fans from somehow finding an album leak. Judging from this British producer's 2009 record, Ambivalence Avenue, his new one is going to be a doozy. Keep a look out for it; there is already anticipation building all over the internet. Here is my favorite Bibio track that some of you might know from the Amazon Kindle commercials: http://www.youtube.com/watch?v=3Eks4gB9tbE.

Best, Jonathan

A Britpop, a psychedelic, and a pop

I don't know what it is about most indie rock that comes out in the winter. Almost all of the albums are overhyped so I'm almost always disappointed. Smith Westerns' Dye It Blonde had the biggest hype of them all. I think the problem is that these songs were written in the immediately prior summer, recorded in the late summer to early fall, mixed in the mid to late fall, produced for however long it takes to get the right sound, and then released sometime in the winter. So it's summer music. Not all summer music released in the winter is bad though. It's really only the rock music. And that's also not to say that music written in the winter that comes out in the summer doesn't agree with me, because winter is notorious for bringing out the best in musicians. I don't know, maybe it actually is the season. The Smith Westerns in Dye It Blonde strive to emulate 90s' Britpop, and they do it very well. But it's not good winter music. Yeah, it's definitely the season that's doing it for me. I even cut short Big Troubles' Worry earlier in the month. I'll whip out these albums in early April and see how they play. I'll probably really like them. Verdict for now: 1.5/5. Favorite songs: Zilch, and I'm miffed; I wanted to like this album.

Psychedelic is just what it sounds like... late 60s' hippie music, but now with a modern twist. White Fence's Is Growing Faith is crazy good if listened to intently with a great sound system or decent headphones. This group is keen on playing with the pitch center of sounds that are really annoying when being centered to the desired pitch, but then the song plays around that pitch and the sound is incorporated into that song. It's actually pretty cool. They'll also play with pitch in other ways: bending the note, playing with the volume, speeding up the track randomly, slowing the track randomly, bending or speeding up only certain instruments simultaneously, and sometimes different instruments are altered differently. Bottom line is these guys love to play with pitch. They also love to burst into cacophony at times. And to go off beat randomly. And to play with contrasting instruments. And to play with different effects on their instruments. And to play with random noises. And their lyrics are hilarious. But all psychedelic music is kind of ridiculous. I don't think I could listen to this album unless all I was doing is listening to this album though. It demands attention, which means you have to be in the mood for it. But if given attention, it's an audible odyssey. So it's kind of a mixed blessing. I give it a 3.8/5. Favorite songs: Sticky Fruitman Has Faith, Lillian (Won't You Play Drums?), Art Investor Collector, and You Can't Put Your Arms Around a Memory.

Okay. Summer Camp's Young EP. I really like this brief record. Its 6 songs run for less than 20 minutes. There is passion in the lyrics, and at the same time, they're so simple. They convey basic human emotions in the plainest of ways. For example: "I lost all my friends / Who are these people? / There's nothing for me here / Never be young again / But it's okay / I got so much more than this." It goes from sadness, to curiosity, to indifference, to regret, to acceptance, to hopefulness all in one refrain. As for the music, the only real instruments are the bass and the guitar when there is one. Almost everything else is manufactured sound, although I'm pretty sure the drum track is an electronic kit and not just pads. Everything about this album screams pop: the percussion is tinny, the bass is punchy, and the lead singer pushes her diaphragm to the limit. Picture the style that made Madonna who she is today, then crumble that into a ball, raise the volume slightly to add the slightest distortion to the overall sound, remove the pomp, and you have Summer Camp's Young EP. Definitely going to be listening to this one for a while, thus a 4/5. Favorite song: Veronica Sawyer.

Best, Jonathan

Some hippity hop, island grooves, and a jazz master

So my last post was rather abridged and rushed because I lost track of time. When I noticed I had literally 2 minutes to run upstairs to class, I quickly published it without including these three groups I had on my mind. So, here we go...

Most rappers these days focus on cars, money, bitches, and various substances. Many of them come from the hood of some major city and have overcome obstacles that many of us could not conceive. It is very rare to find one who is none of these things. Shad is one of these rarities. Born in Kenya, son of Rwandan parents, and raised in Ontario, Canada, Shad raps mostly about religion, hockey, and, like many other rappers, his life experiences. His beats are smooth and interesting, but they're nothing out of the ordinary. His lyrics, however, are intelligent. He clearly has a strong understanding of the Old and New Testaments (I really don't, but I took a history of religion class in college and it was enough for me to know his references), and he LOVES hockey. Almost every song on his third studio album, TSOL, makes mention to something hockey related, including a comparison of himself to Wayne Gretzky ("The Great One"). Mind you his raps are not primarily about these things; they're just his way of staying true to his multifaceted background. Definitely check out this guy. He spits effortlessly. Here is a taste: http://www.youtube.com/watch?v=q-mAMH5S6VA. I'm going to give TSOL a hesitant 3.5/5 because, to be perfectly honest, he's not totally relatable but his beats and intelligence redeem. Favorite tracks: Rose Garden, Keep Shining, Call Waiting (Interlude), and Yaa I Get It.

Last time I was in the Caribbean I was greeted on one of the islands by steel drums and cheesy synth. I turn on Tanlines' Settings EP and am immediately transported to that world. I don't really know what to say about this album... The lyrics are dumb, the synth is cheesy, and the drums are super catchy. If I could describe the EP in one word: fun. Don't miss out. None of it makes sense, but these guys got it right and make me want to have a Corona and watch the sunset over the ocean. Here is a taste: http://www.youtube.com/watch?v=YtijpfnJzMo. I give it a 3/5. Favorite tracks: Real Life and Three Trees.

Jazz is a fickle genre, which means you don't really know what's good until it's tried, tested, and then accepted. The Brad Mehldau Trio knows how to accurately balance three distinct, yet essential, instruments to any and all jazz combos. Mehldau is a piano virtuoso. With Larry Grenadier on upright bass and Jeff Ballard on drums, Live (2008) is a must-have album for any jazz lover. The two disc set was first brought to my attention by a good friend at least a year ago, but this evening while I was driving home I pushed play to relive an old favorite. What's great about this album is not only does it cater to traditional jazz fans, but Mehldau offers unique arrangements of some pop songs. The first song is one that everyone knows, Wonderwall, and oh my God do Mehldau and crew hit it out of the park. This version is slooow compared to the popular track as Mehldau takes the familiar melody and skillfully colors it to produce something fresh. He uses the same technique in the sixth track and another known chart-topper, Black Hole Sun. Throughout the album, all three musicians take lengthly solos that showcase their brilliance. This two disc set is special. I give it a 4.8/5... Almost perfect, but not as worthy as the 5/5 I'd give Miles Davis' Kind Of Blue. So yeah, you get the picture.

Best, Jonathan

Kisses and Jazz Liberatorz

Since it's becoming apparent to myself and to many of you that it won't be enough to accurately classify the merits of an album by saying "this album is good" or "this album is bad", I'm going to start a rating system from 0 to 5. Although very arbitrary, it'll give you some basis for comparison.

On first listen of Kisses' newest album, the first thing I thought to myself is, "What on earth is Jens Lekman doing now?" A quick jump to Wikipedia proved absolutely nothing for my suspicion that he was no longer a solo act. Myspace, however, saved the day and proved my suspicion very false. But I swear, if the lead singer in this band had traded larynxes with Jens, I would not have been able to tell the difference. Anywho, The Heart of the Nightlife is a dancy and dreamy compilation that will probably make you cry while dancing and dreaming. The album begins with a self-titled song, which is highly unusual now that I think about it because typically albums are named after songs and songs generally don't mirror the band's moniker. Kisses, the song, begins the album repeating the refrain: "So keep your heart strong / and love long / and give kisses when you can." This sets the tone for the rest of the album: love lost, incurable longing, and hopeful seeking for a replacement that never materializes as noted by the final song's lyrics, "And I roam the bus / just to be with you / I roam the city tram / just to be near you." The middle songs guide you on that journey to the bitter end. Sad, I know. But this album has a plethora of shining moments despite its overall message. I'd give it a solid 3.8/5. Favorite songs: Kisses, Bermuda, and Midnight Lover.

It's very difficult to effectively and properly combine two completely seperate genres. The Jazz Liberatorz are the best I have found at synthesizing jazz with hip hop. Fruit Of The Past is another beacon of accomplishment for this Parisian hip hop group. Clin d'Oeil, their first release, was my anthem for my time in Paris. Fruit of the Past is not necessarily a new album, but I have been so focused on the intricasies and pure genius of Clin d'Oeil that I have basically overlooked their other works. Fruit Of The Past includes the talents of not only Mos Def and Fat Lip, but also has contributions from T. Love, Dela, and Wildchild. There are other impressive names on the list, but with just those five in mind, I'm not sure how one can truly say they appreciate hip hop without having this group's albums. I give Fruit Of The Past a 4.5/5 and Clin d'Oeil a whomping 4.8/5. Here's a taste: http://www.youtube.com/watch?v=NDZ3x4Lazqg. As for favorite songs, both albums are gems and each song should be listened to. Prepare yourself for something rarely heard in modern music.

Best, Jonathan

New Teen Daze via his side project, Two Bicycles!

Before I forget, Teen Daze gave a heads up today on these two tracks from his side project, Two Bicycles. They can be streamed or download for free here: http://twobicyclesband.bandcamp.com/album/im-not-afraid-to-wait-for-you-single

Just be warned that these tracks are the definition of ambient. If that's not your thing, you're probably not going to like them. But check them out; they may agree with your eardrums.

Best, Jonathan

Candy Claws, Paper Diamond, & The Radio Dept.

I first heard Candy Claws in an indie mixtape that I stumbled upon a few months ago. At this point, their album, Hidden Land, had not been released but blogs and review sites were blowing up claiming it was the next most anticipated album since Animal Collective's Merriweather Post Pavilion. No. False. Animal Collective is on a platform high above the rest of the music world. Candy Claws' Hidden Land is... well, it's weird. I'm not a fan of this highly acclaimed album. Candy Claws is a group of eight. For me, that's too many people competing for very limited space. Hidden Land is almost entirely the product of synthesizers... a giant no-no unless done properly. The vocals are almost entirely breathy to the point that lyrics are indiscernible. They kind of sound like winds passing through that just happen to be making precise pitches. I don't know, maybe that's your cup of tea, but for me I just can't get into it. It's downright boring. If you do listen though, the most interesting song on the album is definitely The Breathing Fire, and it's rather indicative of the rest of the album.

Paper Diamond's Levitate, on the other hand, is a masterpiece of digitized beats. I'm not sure anything on this album actually originates from a tangible instrument, but it works. This Denver native has a penchant for electronic formulations and seems to thrive off contrived syncopation. The album opens with a mysterious chromatic scale which seems to establish one kind of beat, but then the kick and snare chime in and flip the beat to create something highly dig-able and totally different from what was once perceived. This is where he works his magic. The beats come out of nowhere on this album and catch the listener off guard. But just when you think, "woah, what just happened there?" you're bobbing your head and the all too familiar grin takes shape on your face. I definitely recommend this album. Favorite songs: Snowfall and So Precise. As a note: Paper Diamond is playing at the Fillmore on Miami Beach on March 24th.

I have been listening to The Radio Dept. for years. This Swedish trio specializes in the indie subgenre of dream pop... whatever that means. On first listen of their newest project, Clinging To A Scheme, the subgenre actually starts to take shape, and you realize dream pop is really the best way to characterize what's going on. The first song on the album, Domestic Scene, is beautiful and humbling. It literally forces you to question your place in your domestic scene. Colored with very simple guitar harmonies and a punching yet subdued bass, this song is really a downer if looked at retrospectively, but it sets you up for the jump in the rest of the tracks. The album overall is happy and complacent. Listen to it only if you're in the mood for something background, otherwise you'll be waiting for excitement that never comes. You'll be pleasantly surprised though to find that it grabs your attention more than the stigma of background music suggests; this is probably because the lead singer's voice is unique and gives the album a needed flare. Definitely not one to overlook. Favorite songs: Domestic Scene, Heaven's On Fire, and You Stopped Making Sense.

Best, Jonathan

Let's keep it on the music... and sweet tarts.

I'd first like to start off by saying this was more supposed to be for friends of mine who get bored easily with their music, but I already have people in 20 states and Canada reading. Keep it coming and thank you. I like music and I'm glad you do too.

My list keeps growing... 62... count 'em... 62 albums. Good news is I have a nice mix here: some hip hop, some rap, some techno, some electronica, some rock, some classical, some jazz, some avant garde, and some undefinables. Bound to find something good... and something great.

Anyway, the real reason I'm up is because, as I was compiling my list, I went into my downloads folder and started going through some albums I've had sitting there. If you do anything productive tomorrow, let it be grabbing Break Science's Further Than Our Eyes Can See. Imagine Pendulum meets hip hop. Their songs are very beat heavy - what I mean specifically is that the beats control the songs and they are quite impressive; the rhymes could be complete nonsense for all I care. I should be in bed right now dreaming about property law, but instead I'm stuck on this hypnotically-pulsating album. It deserves a big thumbs up and a giant pat on the back. As a note: If you're unfamiliar with Pendulum, I highly recommend their album Hold Your Colour.

Solar Bear's Inner Sunshine EP has some moments of hesitant excitement mostly because parts of the album are not expected. Listening to the first song, I thought I was going to go crazy for these guys. Trans Waterfall is perfect. It doesn't necessarily follow a predictable pattern, but it builds upon itself, becoming a multifaceted layer of manufactured sounds at times, but the sounds mostly just overlap at the tail end of their lifetimes in a way that I can hear is highly methodical. Then the second song comes in and begins with a slowly vibrating organ, sustaining rather bizarre chords, and with a very nice vibraphone-sounding melody over it. A syncopated 12-string guitar then comes in to complete the song, along with other harmony parts. And this is all very nice and enjoyable. But then all of a sudden this crunchy guitar comes in from out of nowhere and static begins to envelop the once soothing melody. This is how the rest of the album progresses. There are moments of calm and then moments of crazy. It could be a better album, but all in all it's definitely a keeper because the moments of greatness strongly outshine the few moments of bleh-ness.

I'm also eating sweet tarts and the back of my jaw is starting to sting.

More to come.

Cheers, Jonathan

Exchange Me Foreignly

Those of you who adore soul music may be familiar with these guys. The Foreign Exchange have been heavily advertising their newest album The Last Fall to the point that I can't visit a music blog without it being mentioned. In fact, just this afternoon they released their hauntingly unfaithful video for one of the album's title tracks "Authenticity", and last week they spurred up a last minute contest in which die hard fans submitted their email addresses in the hopes of becoming one of the randomly selected few for a private concert in South Carolina. I was not selected. No worries, I made Nicolay know how I felt about the lost opportunity. The only problem with all of this is the album is already a few months old. Where was this enthusiasm when it first came out? Pitchfork gave it a surprisingly incredible review, and they definitely should have fed off that hype. Needless to say, these guys have a penchant for aptly describing love's twists and turns that cannot be overlooked. Pure talent right here. I'm eagerly anticipating their next project.

I spoke with Teen Daze's front runner again today regarding the newest tracks posted on his tumblr account (http://teendaze.tumblr.com/). He can't wait to drop the new album. Rumor has it, it will be very soon. Keep a look out. In the mean time, definitely take a look at his new stuff. It's eerily relatable to any human condition.

In other news, I recently added Umphrey's McGee's Mantis to my iPhone. I at first couldn't get passed the first two tracks because there was just too much going on. These guys are good... really good. Let me rephrase, they're f*cking awesome. I used to hold Phish as the ultimate jam band, but Umphrey's McGee clearly surpasses them with this album. Cemetery Walk and II are excellent openers. They grab your attention almost instantly with a questionable piano riff that transitions seamlessly into a technical concoction of heavy percussion and, dare I say, absolutely sick guitar riffs that just made me go, "oh... damn..." The rest of the album is stellar as well, but you'll quickly see from listening how hard it is to veer from the first two tracks. This mental exercise is especially difficult because the third song on the album kind of sucks. It's the weak track because it's not necessarily catchy as it's not in an easy-to-follow major key. Sooo, good luck with that. (Also, as a side note, if you get a chance, definitely see them live. I had never heard of them before and a family friend bought me tickets. Look at what it has done...).

If you're in the mood for a throw back, check out Pinback's self title. I've been listening to this album since middle school and it never ceases to please. They're old, but still great.

The hockey world was pretty busy today, but the trades included teams I really don't care about and players with whom I am not particularly familiar. The Panthers did play today, however, and lost miserably to a surprisingly surging Islanders team that I would consider to be the worst team in the league. The Panthers are still 7 points out of the 8th and final playoff spot. Now is not the time to start losing games. They need all the points they can get. The Bruins on the other hand are sitting comfortably at the top of the Northeast Division and third in the Eastern Conference. Yay!

Criminals are stupid. I had to present a case today in Criminal Law (for which I did not read by the way) that dealt with mental health defenses. The professor singled me out because we have had numerous debates regarding how the mental health profession intertwines with the law, and the case I presented was completely contradictory to the immediately proceeding case on the same exact factor decided by the same exact court. It's funny because I tend to be generally liberal in allowing psychiatric testimony as 100% credible and he seems to fall on the opposite end of the spectrum. It's not that he doesn't find it credible, it's just not consistent so how can it be the determining factor in a case? I think the Supreme Court got it right when it held the burden should rest on the prosecution to prove the absence of the mental health defense because otherwise the defendant would have to raise all affirmative defenses to have any chance at receiving a lesser conviction. The prosecution, rather, should have to prove the defense's absence provided the defense is supported legitimately because that is how criminal law has always worked: you are innocent until PROVEN guilty. I greatly respect my professor and his views, not only because he and it fuel incredible conversations, but because his dialogue is almost all hypothetical which forces us to think for ourselves. Especially in a field that is ever changing and ever being manipulated, it's beneficial to have varying opinions.

More to come.

Cheers, jhabra

I be back

I'm back. That's right. I have nothing more to say about that.

I do have lots to share though. This medium can't contain it all.

Today was Hockey Day in America or something stupid the NHL thinks will increase viewership. I'm not sure, but hockey seems to be an inherently non-commercial sport. It's origins even suggest this. Think about it: the ultimate prize is the most coveted trophy in all of sports - it's made of sterling silver and is the heaviest mother f*cking thing you will ever carry after playing an 82 game season and persevering through the playoffs (not to mention a baby has both pooped and vomited in the chalice), it's the only major winter sport played in the US, players don't get arrested every weekend on rape and drug charges, respect and service to the sport are more important than winning, very few people (who I like to call "the chosen people") understand what is actually going on, and guess what... it's CANADIAN. Canadians, unlike most Americans, are mild mannered people. Commercializing the greatest thing to happen to them since global warming prompted activists to protect their wildlife would be insulting. Just play the damn sport. It's entertaining enough as it is. Here's what you should do if you can't follow the puck... first cry about it, then imagine taking one to the mouth (mind you it's frozen rubber traveling at about 90 mph), getting surgery without anesthesia to repair your permanently damaged bouche, and then ten minutes later being back on the ice to score the game winning goal. Eternal glory has its price.

The Bruins acquired Tomas Kaberle from the Leafs. Although it was sad to see Wheeler depart, Kaberle is what the Bruins need to make a Cup run. I smell Lord Stanley in the Bs future...

In music news... I will start with what has been most played, besides this guided meditation I use to pass out. I haven't been able to turn off Curren$y's Pilot Talk II. This guy has an incredible gift for manipulating the English language. I strongly suggest this as your next purchase. He is even impressive live when he starts off his show spitting what at first appears to be a nonsensical string of garbage that magically turns into something enviable. Don't pass this one up... I'm super serial.

For my non-hip-hop repertoire... Houses' All Night is a musical gem. When it first emerged, I wrote it off as complete garbage. Now it's one of my go-to albums. The members use surprisingly intricate arrangements to create some pretty funky harmonies. Songs of choice: Endless Spring, Reds, Soak It Up. Definitely in that order.

Lord Huron's Mighty EP is unreal. When Will I See You Again has evolved into my anthem for the past month. This is also a must listen.

Mark McGuire's Living With Yourself is a welcome addition to the hallowed instrumental scene. I haven't heard such simple yet perfectly balanced guitar arrangements since something from Explosions in the Sky. Its uniqueness and strength resemble the cosmos' perfection. I call that heavy praise.

Gold Panda is the man. Lucky Shiner is his Abbey Road.

I had a neat little conversation with the guy from Teen Daze the other day via Twitter. We traded views from our living spaces and snarky comments that only aggrandized musicians could concoct. He lives atop a mountain side which overlooks a valley. From examining his picturesque abode, it's easy to ascertain from where his inspiration comes. If I had to put a picture to his music, I wouldn't go any further than to trade eyes with him.

I must admit I have been rather removed from the music scene for the past month at least. This has not been by choice. Typically, I'm upset with myself if I don't have at least 10 new albums a week. The problem I have run into is that I don't have time to listen to them all intently enough to develop an informed opinion on their merits. So what results is that the album I had expected to listen to three days ago is now four albums down on my list. I'm trying to keep up. I really am.

In law news, being a 1L is tiresome, but I've never been more intellectually stimulated in my life. Not much to share here but reading and stress.

More to come.

Cheers, jhabra