I'm beaching and researching for my appellate brief when Curren$y relays this new track from his Jet setters companions, Trademark and Young Roddy, via Twitter. Slick beat. Chill vibe. Here.
Best, Jonathan
Saturday, March 5, 2011
Com Truise
Com Truise can best be described as melodic electronica that is borderline chillwave. The frontman, Seth Haley, is a master at synth and is heavily influenced by 80s' sounding computer nostalgia. Upon first listen of Cyanide Sisters EP, it becomes abundantly obvious how incredibly meticulous Haley is. He scanned this album for any and all signs of imperfection and as a result his tracks are flawless. He knows what sound he wants and he knows how to manipulate his synth to get it. But there is a difference between a record void of blemishes and a great record, and this one is the former and lacking a little in the latter. This EP is his debut, and that's exactly what it is... a start. He is promising, but after listening to this EP it seems pretty barebones and not creative. At the same time though, Haley shows signs of versatility. He goes from the dreamy-riddled track "Cyanide Sisters" to the heavy and anxiety-full "BASF Ace" to the percussion heavy "Iwywaw" to the classical guitar sampled "Norkuy". In other words, this guy has a lot to offer, it's just apparent he's holding back a little. But that's okay because he is due out with a full-length at the end of this year. I expect better things from this producer with the future release.
There are two versions of the Cyanide Sisters EP. One is a basic seven track that you can download for free here (scroll down the page to find the download link). The other contains a different seventh track and four bonus tracks, but for that one you must pay. I give Cyanide Sisters EP a 3.5/5. Favorite songs: Cyanide Sisters, Slow Peels, and Norkuy.
Best, Jonathan
There are two versions of the Cyanide Sisters EP. One is a basic seven track that you can download for free here (scroll down the page to find the download link). The other contains a different seventh track and four bonus tracks, but for that one you must pay. I give Cyanide Sisters EP a 3.5/5. Favorite songs: Cyanide Sisters, Slow Peels, and Norkuy.
Best, Jonathan
Friday, March 4, 2011
Some jazz singles before the weekend push
Charlie Hunter learned how to play guitar from Joe Satriani. Satriani is a guitar great, playing for rock legends Deep Purple along with various other groups (he also taught Steve Vai, another guitar master). Charlie Hunter, however, went the jazz route. His claim to fame is his trio, the Charlie Hunter Trio. He has released 32 albums and each one of them has something spectacular and different to offer. On his fourth release, Natty Dread, and this time with his quartet, he does an excellent variation of Bob Marley's No Woman, No Cry. He and his band mirror the same rebellious and nostalgic feel asserted by Marley, and his guitar cries beautifully as it's peppered with delay and the lightest bit of flange. You can listen to it here.
My favorite Charlie Hunter album is Ready... Set... Shango! Again with his quartet, he pumped out this nine track album in 1996. The first two tracks are excellent. Ashby Man is a groovy tune with upbeat drums, breathy and flashy horns, and technical guitar. Hunter establishes a ridiculously catchy melody that is rooted in both a lead arrangement and some triads. He solos fluidly in the open spaces. Check out Ashby Man here (same song, just released on a different album). The second track is named Teabaggin'. Rather risque, I know. The track also sports an awesome groove, but it's a little less subdued than Ashby Man. I've scanned the interwebz for the track, but I can't find it. You might have to delve into iTunes for this one.
Best, Jonathan
My favorite Charlie Hunter album is Ready... Set... Shango! Again with his quartet, he pumped out this nine track album in 1996. The first two tracks are excellent. Ashby Man is a groovy tune with upbeat drums, breathy and flashy horns, and technical guitar. Hunter establishes a ridiculously catchy melody that is rooted in both a lead arrangement and some triads. He solos fluidly in the open spaces. Check out Ashby Man here (same song, just released on a different album). The second track is named Teabaggin'. Rather risque, I know. The track also sports an awesome groove, but it's a little less subdued than Ashby Man. I've scanned the interwebz for the track, but I can't find it. You might have to delve into iTunes for this one.
Best, Jonathan
An album I didn't want to end and Wiz Khalifa is still king
I was not floored with Beach Fossils' What A Pleasure EP. I did really enjoy it though. It weighs in at a timid 23-minutes long. This Brooklyn-based surf-pop group is well versed on the difficult-to-balance relationship between bass and guitar, and they test its limits on this album. The bassist's riffs draw you in and hold you wherever in is. The bass is hidden, but once you find it, you never lose it. It becomes a little hard to stand back and hear a track as a whole once trapped, but then the guitar does something cool and whips you back into reality. The guitars use very little effects so they sound natural. The best part about the guitars is the great alternate picking (I counted only two rhythm parts). The guitarist chose not to make his parts perfect, but it's barely noticeable when he rarely misses an up-pick. The vocals are not what I had expected after hearing the guitars. They're a little too soft for my taste. A more assertive vocalist would probably sound better. As for the drums, they come in two main packages. The general sound is that of typical indie drums, which is very simple and plain - they set the beat and don't do much more. The first package is bass and snare centered. The second is tom and hi-hat centered. Combine all these and you have something that's very good, but not great. Two things happened immediately after the album finished. 1) I wanted more. I love this kind of psychedelic surf pop. I find it incredibly soothing and just the right amount of distracting. 2) Beach Fossils sound a lot like Real Estate, except they're a tad more upbeat, they're not as good as Real Estate, and their recordings are better quality. Verdict: 3.8/5 (very good, but not great). Favorite tracks: Moments, What A Pleasure, Distance, and Adversity.
I'm a big fan of Wiz Khalifa. He has worked closely with another favorite of mine, Curren$y on the How Fly mixtape. On Wiz's latest release, Cabin Fever, he raps about how he can get your girlfriend to cheat on you with him, how he's better than you are, smoking marijuana, bitches, sex, money, and cars. I'm one of the few people who thinks his lyrics are useless. He has a way with rhyme, and there he is creative, but his lyrics get boring when all he does is rap about the same thing over and over. But that's not the reason to listen to Wiz. Wiz is known for his beats, and on this mixtape he does not fail to deliver. They are solid and unusually simple. The bass is deep and heavy and the high end is experimental and plain. Wiz doesn't need much more to make a great beat. Check out the second track Cabin Fever. This mixtape came out not long ago. And guess what? Wiz is dropping Rolling Papers, his third studio album, March 29th on Atlantic (in association with his normal label, Rostrum). Should make for some good head bobbing. I give Cabin Fever a 4/5.
Best, Jonathan
I'm a big fan of Wiz Khalifa. He has worked closely with another favorite of mine, Curren$y on the How Fly mixtape. On Wiz's latest release, Cabin Fever, he raps about how he can get your girlfriend to cheat on you with him, how he's better than you are, smoking marijuana, bitches, sex, money, and cars. I'm one of the few people who thinks his lyrics are useless. He has a way with rhyme, and there he is creative, but his lyrics get boring when all he does is rap about the same thing over and over. But that's not the reason to listen to Wiz. Wiz is known for his beats, and on this mixtape he does not fail to deliver. They are solid and unusually simple. The bass is deep and heavy and the high end is experimental and plain. Wiz doesn't need much more to make a great beat. Check out the second track Cabin Fever. This mixtape came out not long ago. And guess what? Wiz is dropping Rolling Papers, his third studio album, March 29th on Atlantic (in association with his normal label, Rostrum). Should make for some good head bobbing. I give Cabin Fever a 4/5.
Best, Jonathan
Thursday, March 3, 2011
A single, some randoms, and an epic video of an acoustic Phoenix performance under la Tour Eiffel... and Laffy Taffy jokes
Shingai Shoniwa really sounds like Macy Gray. Her voice is shockingly similar. It's soothing, raspy with a hint of vibrato, and full of soul. She is the frontgirl for the Noisettes, a London based indie rock band. They're not rock in the conventional sense of rock though. This group is heavily influenced by jazz and blues, and on Wild Young Hearts it's noticeable the moment you push play. The first song on this album is fantastic. The drums are played with brushes, the acoustic guitar is jazzy and finger-picked, the bass is simple and supportive, and Shoniwa's voice shines in the most impressive of ways. These guys are awesome and naturally talented. You can listen to Sometimes here. Here is a video of them playing the same song live to demonstrate their abilities and energy. Definitely take a look. 4/5.
Minks - By The Hedge. I don't know what this Boston indie pop group was thinking. It's not that this album is horrifying, it's just meh... okay, I guess. Some of their songs are disjointed, unpleasing, and frankly quite "ew... no." The guitars are all over the place without a home-base, the drums pound away without any creativity, and the vocals are strained and sustained whines that detract from the rest of the band. Other times though, they resemble bands like Real Estate and Wild Nothing, which I really like. They are guitar orientated, building comforting melodies and rhythms that secrete the notion that there's nothing better than being where it feels like at home. I can't really get into this album, but some might. Here is a taste of one of the better songs. I'll let you decide from there. I give it a 2.5/5.
Callers - Life of Love. You know that song White Rabbit by Jefferson Airplane? Now name the singer of Jefferson Airplane at that time. If you can, I'm impressed. If not, read up. Grace Slick is an icon of the folk rock genre. What made her special was her psychedelic penchants and unreal voice. One of her close friends was Janis Joplin. If you haven't heard of Janis Joplin, you need to seriously reconsider what music you listen to. Anyway, the vocal style of Sarah Lucas, the frontgirl for Callers, is a fusion of Joplin and Slick's style. At this point, this album might seem pretty good. I mean, how can it not be being compared to Joplin and Slick? Don't let that fool you. There is a questionable distance between Lucas' vocals and the instruments. She towers over everything. It sounds funny, especially because her voice is so unique. This is not to say that her voice is bad. It's actually unbelievable. In addition, the other band members are clearly skilled; the guitarist is especially gifted. But all together, there's something wrong. I'm literally finding myself being all Jewy and saying, "Oy, I cannot do this." It's a mundane album full of empty space and incoherent arrangements. If it's any consolation, I'd see them live because I think their sound is interesting, but I wouldn't pay more than $25. Here's a taste. Verdict: 1.8/5.
Watch this video of Phoenix courtesy of La Blogotheque. I'm super jealous of the bride and groom.
Jokes to tell while sharing an awkward elevator ride courtesy of Laffy Taffy:
#242: What is black and white and red? A sunburned zebra.
#20: What do pigs give on valentines day? Valenswines.
#209: What do ghosts like on their beef? Grave-y
#214: When is a boxer like an astronomer? When he sees stars.
Best, Jonathan
Minks - By The Hedge. I don't know what this Boston indie pop group was thinking. It's not that this album is horrifying, it's just meh... okay, I guess. Some of their songs are disjointed, unpleasing, and frankly quite "ew... no." The guitars are all over the place without a home-base, the drums pound away without any creativity, and the vocals are strained and sustained whines that detract from the rest of the band. Other times though, they resemble bands like Real Estate and Wild Nothing, which I really like. They are guitar orientated, building comforting melodies and rhythms that secrete the notion that there's nothing better than being where it feels like at home. I can't really get into this album, but some might. Here is a taste of one of the better songs. I'll let you decide from there. I give it a 2.5/5.
Callers - Life of Love. You know that song White Rabbit by Jefferson Airplane? Now name the singer of Jefferson Airplane at that time. If you can, I'm impressed. If not, read up. Grace Slick is an icon of the folk rock genre. What made her special was her psychedelic penchants and unreal voice. One of her close friends was Janis Joplin. If you haven't heard of Janis Joplin, you need to seriously reconsider what music you listen to. Anyway, the vocal style of Sarah Lucas, the frontgirl for Callers, is a fusion of Joplin and Slick's style. At this point, this album might seem pretty good. I mean, how can it not be being compared to Joplin and Slick? Don't let that fool you. There is a questionable distance between Lucas' vocals and the instruments. She towers over everything. It sounds funny, especially because her voice is so unique. This is not to say that her voice is bad. It's actually unbelievable. In addition, the other band members are clearly skilled; the guitarist is especially gifted. But all together, there's something wrong. I'm literally finding myself being all Jewy and saying, "Oy, I cannot do this." It's a mundane album full of empty space and incoherent arrangements. If it's any consolation, I'd see them live because I think their sound is interesting, but I wouldn't pay more than $25. Here's a taste. Verdict: 1.8/5.
Watch this video of Phoenix courtesy of La Blogotheque. I'm super jealous of the bride and groom.
Jokes to tell while sharing an awkward elevator ride courtesy of Laffy Taffy:
#242: What is black and white and red? A sunburned zebra.
#20: What do pigs give on valentines day? Valenswines.
#209: What do ghosts like on their beef? Grave-y
#214: When is a boxer like an astronomer? When he sees stars.
Best, Jonathan
Rock on
Long distance does work! No Joy is proof. With one member in Montreal and the other in L.A., No Joy was burdened by multiple time zones and virtually the entire diagonal distance of the US. The two traded tracks via email and MySpace until Mexican Summer got wind of their recordings on MySpace. Within a year, the band expanded to a quartet and recorded their debut album, Ghost Blonde.
These guys rock hard. The guitar and bass are fueled with more distortion than I would know what to do with, but they also have an airy feel as they are sometimes pumped with echo and always with reverb. As a result, there is almost a constant static that pervades the album, but it definitely does not subtract from the listening experience.
The name of the game is repetition to the point of getting lost in the repetition. It's incredibly easy to be engrossed in a track and then to doze off. It doesn't necessarily lose your attention though; in fact, it's quite the contrary. Their tracks are hypnotic and spacey. That might sound like a contradiction, but I swear it's indicative. This perception has a lot to do with the frontgirl's vocals; she mumbles and pushes out her voice while maintaining a whiny, but not nasal, tone. Her sustained notes travel uninhibited above all the instruments. Her lyrics are incomprehensible for the most part, but that's okay. These factors combined make for some beautiful harmonies, and the harmonies make a boundless pool for some aimless mental swimming.
All in all, this album is actually really good after a second or third listen. This group is excellent at forming the right chord arrangements as to not overload the harmonies among instruments. If you overload the harmonies with all that distortion and reverb, it's going to sound like garbage even if every note is in harmony with the others. They find a pretty great balance. Verdict: 4.3/8. Favorite tracks: Heedless (this song is freaking awesome), Maggie Says I Love You, Indigo Child, Untitled, and Ghost Blonde.
Best, Jonathan
These guys rock hard. The guitar and bass are fueled with more distortion than I would know what to do with, but they also have an airy feel as they are sometimes pumped with echo and always with reverb. As a result, there is almost a constant static that pervades the album, but it definitely does not subtract from the listening experience.
The name of the game is repetition to the point of getting lost in the repetition. It's incredibly easy to be engrossed in a track and then to doze off. It doesn't necessarily lose your attention though; in fact, it's quite the contrary. Their tracks are hypnotic and spacey. That might sound like a contradiction, but I swear it's indicative. This perception has a lot to do with the frontgirl's vocals; she mumbles and pushes out her voice while maintaining a whiny, but not nasal, tone. Her sustained notes travel uninhibited above all the instruments. Her lyrics are incomprehensible for the most part, but that's okay. These factors combined make for some beautiful harmonies, and the harmonies make a boundless pool for some aimless mental swimming.
All in all, this album is actually really good after a second or third listen. This group is excellent at forming the right chord arrangements as to not overload the harmonies among instruments. If you overload the harmonies with all that distortion and reverb, it's going to sound like garbage even if every note is in harmony with the others. They find a pretty great balance. Verdict: 4.3/8. Favorite tracks: Heedless (this song is freaking awesome), Maggie Says I Love You, Indigo Child, Untitled, and Ghost Blonde.
Best, Jonathan
Wednesday, March 2, 2011
Some singles
Animal Collective is probably the most ground-breaking group since The Beatles changed rock. Say what you will about their ridiculous structure, unorthodox arrangements, and incomprehensible lyrics, it is irrefutable that these guys have an incredible talent, recognizing useful sounds and incorporating them into empty spaces to create the most bizarre and awesome melodies and rhythms. What's wonderful about this former 4-piece, then former trio, and now again a 4-piece is each one of the four has a distinct style and they are clearly distinguishable when solo. Not only that, when listening to AC, it's easy to recognize who wrote the basis for any one of the songs.
One of its members, Avey Tare, is a silly man. His stage presence is marked by floppy gestures and random yelping at times. In his latest release, Down There, Tare coveys sentiments that are relatable on the most basic of human levels. You feel for Tare on this album; he has clearly gone through something that shook the core of his soul. As a result, the album is dark and introspective. Another interesting aspect of Down There is Tare's overly-experimental nature. He does some weird things: mumbled samples, abrupt and loud interruptions, spaced-out beats, and garbled rhythm tracks. I've been listening to this album since late October. There is a lot of which I do not approve, which is unheard of for anything associated with AC. But two tracks have really popped out at me.
Laughing Hieroglyphic begins with a mumbled and petrifying sample, a quick and fleeting loud scream, and then a nebulous backdrop with the continuing sample that sounds like someone talking over a loudspeaker a couple hundred miles away in the Amazon rainforest at night. There is a strong aura of mystery. It segues into what sounds like a tightly wound string that becomes increasingly tightened until it reaches its tipping point. The percussion, all digitized, sounds like he took a garbage can from out back, slapped it a few times, and cut out the reverb and sustain. So freaking weird, but I love it. As I said, these guys have a knack for exploiting and manipulating all sounds. You can listen to the track here. Verdict: 4.5/5.
The second track I have revisited is Cemeteries. It begins with what sounds like a rainmaker but clearly isn't. It's too tinny to be a rainstick. The only other consistent part besides his vocals is something I cannot identify. It plays like a keyboard with a muffled-timpani drum effect, but I don't even want to take a stab at where or how he discovered the sample. Cemeteries exerts a languid feel; you could fall asleep to it but it would probably give you nightmares; it has an eerie undertone. The vocals, however, suggest reflection and nostalgia with a hint of fear: "Looking back on old days / Sleep foreign / Ice cold / Look away, not looking forward / Cemeteries, I saw." This is truly a beautiful song. Have a listen here. Verdict: 4.7/5.
One of the other members, Panda Bear, has a solo album due in April. Keep a look out.
Best, Jonathan
One of its members, Avey Tare, is a silly man. His stage presence is marked by floppy gestures and random yelping at times. In his latest release, Down There, Tare coveys sentiments that are relatable on the most basic of human levels. You feel for Tare on this album; he has clearly gone through something that shook the core of his soul. As a result, the album is dark and introspective. Another interesting aspect of Down There is Tare's overly-experimental nature. He does some weird things: mumbled samples, abrupt and loud interruptions, spaced-out beats, and garbled rhythm tracks. I've been listening to this album since late October. There is a lot of which I do not approve, which is unheard of for anything associated with AC. But two tracks have really popped out at me.
Laughing Hieroglyphic begins with a mumbled and petrifying sample, a quick and fleeting loud scream, and then a nebulous backdrop with the continuing sample that sounds like someone talking over a loudspeaker a couple hundred miles away in the Amazon rainforest at night. There is a strong aura of mystery. It segues into what sounds like a tightly wound string that becomes increasingly tightened until it reaches its tipping point. The percussion, all digitized, sounds like he took a garbage can from out back, slapped it a few times, and cut out the reverb and sustain. So freaking weird, but I love it. As I said, these guys have a knack for exploiting and manipulating all sounds. You can listen to the track here. Verdict: 4.5/5.
The second track I have revisited is Cemeteries. It begins with what sounds like a rainmaker but clearly isn't. It's too tinny to be a rainstick. The only other consistent part besides his vocals is something I cannot identify. It plays like a keyboard with a muffled-timpani drum effect, but I don't even want to take a stab at where or how he discovered the sample. Cemeteries exerts a languid feel; you could fall asleep to it but it would probably give you nightmares; it has an eerie undertone. The vocals, however, suggest reflection and nostalgia with a hint of fear: "Looking back on old days / Sleep foreign / Ice cold / Look away, not looking forward / Cemeteries, I saw." This is truly a beautiful song. Have a listen here. Verdict: 4.7/5.
One of the other members, Panda Bear, has a solo album due in April. Keep a look out.
Best, Jonathan
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