She Wants Revenge: "Valleyheart"

So I took a trip out to Reading, Pennsylvania, and garnered the attention of a few people as I pulled up to park my car while blasting music. A conversation ensued with a small group (mainly in their early twenties) that revolved around music (they even gave me a list of bands I “had” to check out). Now these were music lovers, who were really informed about what they were talking about and took the time read reviews and commentaries. Throughout our conversation there was one recurring motif; every time a band they did not like came up, the accusation was, “Yeah, well they are derivative of such-and-such from the past.” And I realized two things on the spot, which I told them and pointed out in detail. First, whenever a critic does not like a band the easiest thing to do is call it “rehash” (I am guilty of this!). Second, whenever a critic does like a band, they do everything they can to prevent people from knowing that it is revivalist. The reality is that all “modern” music depends on what has come before it, and there are only so many combinations of notes, chords, and rhythm patterns in existence. But when you are not familiar with the bulk of the work of artists like Vincent Clarke (La Roux), Madonna (Lady Gaga), or Queen (Muse), it becomes very difficult to see how derivate newer artists are. So the question should never be was the band influenced by the past, even if it is to the point where they wear their influences on your sleeve? Instead the question should be, “Do they have something new to add?” That is where She Wants Revenge’s third album, “Valleyheart” (24 May 2011), comes in.



I grew up on a steady (over)dose of post-punk, not to mention dark wave – and what She Wants Revenge has really done with their latest album, “Valleyheart,” is bring these traditions of music to a new generation of listeners by putting a nice spin into their music. Something they have not forgotten about post-punk is that it brought in the “dreaded” disco to counterbalance the harshness of punk, and they remember that dark wave (and it’s French counterpart cold wave) incorporated the pop sensibility of new wave. What She Wants Revenge has to offer is essentially pop music that is both infectious and disarming. Hook after hook, rift after rift, you are drawn into the band, while you realize at the same time that this is not your run-of-the-mill song, especially when you hear, “You say, 'It’s not so easy.' She says, 'It’s not too bad.' You give a little love and it comes back like the best you’ve had. She whispers, 'Are you lonely, 'cause I’m lonely too.' But I know you’ll never be right for me, I know you’ll never be right for me, still wanna kiss you.” (“Kiss Me”) Poppy feel good music matched with darker introspection than one might expect.

What are missing are the dated electro-sounds and the stereotypical “tinny” guitar sounds. Embracing a contemporary feel and sound, She Wants Revenge keeps true to the heart (the ideology) of the genres they love, while producing music that is unarguablely not 80s, but, well, 10s. Take “Little Stars,” which has all the underpinnings of classic 80s new wave pop (the very slow build that goes from minimalist to full fledge soundscape in one second when the beat drops), despite the use of ambient keys, She Wants Revenge did not create an oppressive undertow that traditional post-punk bands would have done. Instead, musically, it has much of the same effect as late 80s, early 90s industrial – sort of that mysterious feel you want to dance to. At the same time, the lyrics, again, leave you a lot to ponder: “But kicking is hard when you need a fix, and then you’ll try and replace me. Dress him up and you can lay pretend, ‘cause it will point out the things you really miss.”

The big kicker is “Not Just a Girl.” A grandiose pop song, with big keys, has all the makings of a love song you think will have you “alone above a ranging sea that stole the only girl I loved” (“Just Like Heaven” by The Cure). Instead, the song, for all its grandiose dreariness, sung à la David Bowie, is one of unfettered hope, odd in this genre of music: “You’re not just a girl, you’re more like the air and sea. I want you so desperately and nothing’s gonna keep us apart.” The lead single, “Must Be the One,” sees She Wants Revenge doing something a bit different: a more straightforward, less ambient track. This is the kind of bare-bones song that could easily fall apart as “filler” on any album; instead here it just adds a new dimension to the band’s musical portfolio.

Usually, when listening to anything that approaches revival, I want to run back and listen to the original. This was not the case with She Wants Revenge’s “Valleyheart.” And as I listened to it again yesterday, I thought about my conversation out in Reading. Is She Wants Revenge derivative of the past? No more than any other band. Does the band have something new to add to the mix? Absolutely. I can accept someone saying that they do not like post-punk or dark wave (though I may look at them funny), but I cannot accept anyone dismissing any band because they have chosen to pay homage to the past, because all bands do. But as I stated, this is more than just homage, this is adding something new, something distinct, to a large canon of music. If you are a fan of post-punk and/or dark wave, or slightly curious, check this band out.


Track Listing:
1. Take The World
2. Kiss Me
3. Up In Flames
4. Must Be The One
5. Not Just A Girl
6. Reasons
7. Little Stars
8. Suck It Up
9. Holiday Song
10. Maybe She’s Right

Keep up with She Wants Revenge at their homepage, MySpace, Facebook, and Twitter.

Here is their video for “Must Be The One” from the SheWantsRevengeVEVO YouTube Channel.

Read more ...

Videos

Enjoy the videos!

Robyn’s “Call Your Girlfriend” from the RobynVEVO YouTube Channel.



Anna Calvi’s “Desire” from the DominoRecords YouTube Channel.



Ronika’s “Forget Yourself” from the ronikamusic YouTube Channel.



Art vs. Science’s “Higher” from the ARTVSSCIENCE YouTube Channel.



White Lies’ “Holy Ghost” from the WhiteLiesVEVO YouTube Channel.



Young Knives’ “Human Again” from the YoungKnives YouTube Channel.



Fucked Up’s “Queen of Heart” from the matadorrecs YouTube Channel



Erland & The Carnival’s “Springtime” from the FullTimeHobbyRecords YouTube Channel.



Acid House Kings’ “Under Water” from the labradorrecords YouTube Channel.



SBTRKT’s “Wildfire” from the youngturksrecords YouTube Channel.

Read more ...

Second: “Demasiado Soñadores”

Though Second has been blipping on the outskirts of my radar, it was not until a few weeks ago that this veteran band consumed my complete attention. I knew them as a Spanish band (from Murcia, España) that sung in English. However, by the time they recorded their third album, Spanish songs started to seep into their repertoire. Their fourth album and now their fifth, “Demasiado Soñadores” [“Too Many Dreamers” – all translations my own] (15 March 2011 as digital download in the USA, 5 April 2011 as a hard copy import), were recorded in Spanish (I cannot confirm if they will or will not produce new music in English in the future). With a vast number of musical references that span decades (David Bowie, Blur, The Cure, Joy Division, The Kinks, and (The London) Suede), Second is essentially a brilliant rock band that only happens to sing in Spanish. Devoid of any obvious influence from Spanish (or Latin) music on “Demasiado Soñadores,” what you get is a Spanish band that is as trendy, cutting edge, and relevant as any of their American or British brethren.



One of the things I love most about this album is the diversity in musical references. Unlike their American and British brethren, this is not a band content on reviving the 70s, 80s, or 90s. Instead they are able to swirl around all of their musical influences in and amongst themselves in each song. It may be odd to think that Britpop can meet post-punk, not to mention glamrock, but much like their Spanish singing contemporaries (Hello Seahorse! and TheMistake), their outside perspective of current musical trends is an advantage. Not being slumped in a “scene” allows them to write music in a specific style without giving into clichés or tropes that other bands have done to death.

The album opens with “N.A.D.A.” [“N.O.T.H.I.N.G.”] – a narrative of a seeing someone whom you have broken up with again after eleven months – bordering on synthrock, the song retains the sophisticated arrangements of Britpop while incorporating an electronic feel to it. Then the titular track “Demasiado Soñadores” chimes in with a very poppy post-punk meets disco revival feel, with some harsh criticisms: “Demasiado soñadores, persiguiendo perfecciones que aprendieron a moverse con estilo y con tacones. Demasiado soñadores, caminando por el borde, ya no cuenta lo de antes, solo importa lo que viene.” [“Too many dreamers, chasing perfection, that have learned to operate with style and in high heels. Too many dreamers, walking on the edge, no longer caring what came before, only what comes next.”] Immediately followed up by “Muérdeme” [“Bite Me” – in a literal sense, not the dismissive exclamation], which is a lot like the post-punk revival of The Killers or (mid-career) The Bravery.

The album is loaded with one gem after the other. I could easily give my two bits on each of these songs. From the anthemic “Mañana es Domingo” [“Tomorrow Is Sunday”] to the grandiose “En Pequeñas Cosas” [“In Small Things”], the band continuously generates music that is fresh and vibrant, but most importantly relevant to today’s musical trends. My favorite track on the album is “Autodestructivos” [“Self-Destructive”] – laced with a funky bass and one hook after the other, this song is the very definition of suave. “Siento comunicar que mañana ya no existe … Siento comunicar que no se compra que no se tiene. Ya ho hay sueños, ya no yah nada. Lentamente me convences, hagamos esta noche algo distinto, seremos autodestructivos” [“Sorry to say that tomorrow no longer exists … Sorry to say that you cannot buy what you lack. There are no more dreams, there is nothing. Slowly you convince me, let’s do something different tonight, let’s be self-destructive.”]

I think what makes the English-speaking work a bit different from others when it comes to music is the reluctance to entertain music in another language. The reality is that English sung music dominates the world's music scenes. So I am hoping that that will not be an obstacle in giving Second’s “Demasiado Soñadores” a much deserved chance. This album could easily end up as my personal favorite of the year ... solid craftsmanship, spot on production, infectious music, lyrically spanning tongue-in-cheek to bombast poetry, and just a great experience from beginning to end.

Track Listing:
1. N.A.D.A. [N.O.T.H.I.N.G.]
2, Demasiado Soñadores [Too Many Dreamers]
3. Muérdeme [Bite Me]
4. Mañana es Domingo [Tomorrow Is Sunday]
5. Aquella Fotografia [That Photograph]
6. Autodestructivos [Self-Destructive]
7. Psicopatico [Psychopath]
8. En Pequeñas Cosas [In Small Things]
9. De Buenos Aires [From Buenos Aries]
10. Prototipo [Prototype]
11. Tu Alrededor [You Around]

Keep up with Second at their homepage, MySpace, Facebook, and Twitter.

Here are the videos for “N.A.D.A.” and “Muérdeme” from the SECONDMUSIC YouTube Channel.



Read more ...

"The Homecoming" (Microfilm Remix)

My thanks to Microfilm for keeping SDM Blog in the loop.

Posted below is a remix of Sarah Nixey’s upcoming single, “The Homecoming” (18 July 2011), by Microfilm. Microfilm’s remix to the song takes this acoustic number into the world of deep house, and of course they were more than happy than to share this track with us.

“The Homecoming” (Microfilm Remix) from their Soundcloud page: microfilmmusic.

The Homecoming (Microfilm remix) by Microfilm

Keep up with Microfilm at their homepage, Facebook, and Twitter. Check out their Bandcamp page where you preview and purchase their music.

Keep up with Sarah Nixey at her homepage, MySpace, and Facebook. Go to iTunes (American link) to preview her latest album, “Brave Tin Soliders” (9 May 2011), and purchase. Read more ...

Kevin Pearce: "Pocket Handkerchief Lane"

My many thanks to Kevin Pearce for keeping SDM Blog in the loop.

A few months back, I reviewed Skywatchers’ “The Skywatchers Handbook” (link), and among many things that really got me about the album were Kevin Pearce’s chops as a vocalist. Does he sing with passion and conviction? Check. Is he emotive while singing? Check. Does his voice have a distinctive quality to it? Check. At the end of it all, those are the three things that make a great vocalist. The problem with vocalists that can check these three categories is composing music that complements and draws out all of the smaller, finite qualities of their singing. That is what makes “Pocket Handkerchief Lane” an amazing album. Being released later this autumn, Pearce’s debut solo album combines subtlety with sophistication, poetry with melody, strong vocals with savvy musical arrangements, and current indie hooks with English folk. Furthermore, when you cite Mogwai and Talk Talk as influences, you get my attention immediately.



“Pocket Handkerchief Lane” is one of those albums that is hard to write about simply because I do not want to stop listening to it; track to track, the album flows with unbridled ease, with the delicateness of lullabies while being loaded with visceral power. From the opening, “Get By,” when Pearce sings, “and I realize I have grown,” you immediately understand that what follows is contemplated lyrics and emotive music. This could not be more true about “Burning Summer Sun,” my favorite track of the album … my favorite track of the year so far. The arrangements are very simple, the lyrics universal (“And I don’t want to be alone”). This song will hit chords in anyone who has ever felt lonely. However, there is never a pleading for someone else, to get rid of the loneliness; rather, there is just a conscious admission of that loneliness, a somewhat subdued, reluctant acceptance.

The big surprise on the album is the near electropop “Vultures.” Sensual and mysterious, Pearce’s vocals do not skip a beat when sung over sheer electronic arrangements. Singing over electronic music is most definitely harder than “standard” instruments, because the entire warmth of the song is going to depend solely on the vocals. “Vultures” is just that – warm; Pearce is able to bring the same emotiveness to this track as all the other on the album. Giving into complete indie guitar pop, “Don’t Fall Down” hooks you immediately with some interesting acoustic strumming, what makes the song really distinct from its indie brethren is that it is one of those rare indie guitar pop songs that is not prepackaged, feigned anxiety. Ingeniously, Pearce is able to strut his pop sensibility while remaining contemplative and lyrically sincere.

I may be the first to be saying this: place Kevin Pearce’s “Pocket Handkerchief Lane” on your radar, as its release is still some time off. In a world where music (more and more) is becoming prepackaged, scene-based releases, it is always refreshing to see an independent artist able to produce music with substance and sincerity.

Track Listing:
1. Get By
2. Older Times
3. Don’t Fall Down
4. Turn Me to Ice
5. Waste
6. Take Us to the Waterfall
7. Burning Summer Sun
8. Don’t Tell My Heart
9. Vultures
10. Seeds of Summer Fruits
11. Last Blow Out

Keep up with Kevin Pearce at his MySpace and Facebook.

Here are the tracks “Don’t Fall Down” and “Vultures” from Kevin Pearce’s Soundcloud.

DONT FALL DOWN by kevinpearcemusic

VULTURES by kevinpearcemusic Read more ...

The New Division: "The Rookie"

This one has been long in coming … Playing with the name of two of their influences (Joy Division and New Order), The New Division, a Los Angeles quartet, released their debut EP earlier this year: “The Rookie” (11 January 2011 in the USA). Again, listening to this EP was the second time in recent months I was transported back to the late 80s, early 90s, when a slew of great bands were releasing debut EPs. With a name like “The Rookie,” a sort of novice, amateur-esque image may be conjured up, but these Angelenos are demonstrating some serious songwriting talent on their debut. While paying homage to the 80s (new wave, electropop, and post-punk), The New Division is not simply rehashing or stuck in the past, but treading in a new direction with it.



Though they play with Joy Division and New Order in the name of the band, their references in music are actually quite broader. Intentionally or not, they remind me of the 80s rooster of Mute Records (such as mid-80s Depeche Mode and Renegade Soundwave), a bit of the atmospherics of bands like Cocteau Twins, and even Germany’s Camouflage. For instance, just as Camouflage’s “The Great Commandment,” The New Division is able to conjure up a feeling of crypticness without sacrificing the electropop form or sound. Considering that electropop relies heavily on those “beeping” sounds, this is not an easy feat.

Kicking off with “Starfield,” this is the kind of new wave meets post-punk song best described as a sigh. Even though the bassline can be a bit aggressive, and the percussion a bit syncopated, the other arrangements keep a feel of tranquility throughout the song. Then there is “Devotion,” which gets darker and more ambient, giving into their post-punk references. The steady electo-bass line and ostinato drives the music like in early electro-industrial music. But out of the blue, “No Health” gets all poppy. Close to dance ready, this is not your run-of-the-mill cookie-cutter pop song; a bit darker, and much more unpredictable, there is something latin-esque about the arrangements. “Nocturnal” gets a bit rockier, into the territory of synthrock, while “Festival” keeps that sort of musical anxiety going, driven by its ostinato. What really gets under my skin (in a good way) about this track is how its basic underpinnings are very similar to (deep) house music. Ending with “Bucharest,” sonically this is the harshest beginning of any of the songs on the album, but this gives way when the beat drops to classically written electropop, with serious tinges of house music again. (And there is a hidden track that will leave you scratching your head considering what you had just been listening to!)

One listen to “The Rookie” and it becomes very obvious that The New Division has a lot to offer the electropop (and even the post-punk) world. I typically do not fawn over Los Angeles based bands, but if you are a fan of electronic music, manically in love with the 80s revival, or just simply curious for something new, this is definitely a band that you need to check out.

Track Listing:
1. Starfield
2. Devotion
3. No Health
4. Nocturnal
5. Festival
6. Bucharest

Keep up with The New Division at their homepage, MySpace, Facebook, and Twitter. Head over to their Bandcamp page where you can preview and download “The Rookie” EP.

Here is the track “Devotion” from their Bandcamp page.

Read more ...

Videos from the 90s

If given the choice between the 80s or the 90s, there is no thinking in that for me – give me the 80s. I will argue till the last breath that it was truly a decade of change, a decade that continues to influence people directly, and the one with the most diversity and (tacit) acceptance. But the 90s were not depleted of talent and incredible gems. So I collected a few of these to share with everyone.

But first I would like to say a few words on these bands and tracks.

Artists like Bjork, Blur, and Catherine Wheel are part of the soundtrack of my life, while with songs such as “Fade Into You,” “Laid,” and “Ready to Go” I have attached incredible memories to that keep me warm at night. For instance, I will never forget the night that DJ Chauncey and I saw the reunited Eurythmics perform “Seventeen Again” at Madison Square Garden. Or how the line “Hey dad, what do you think about your son now?” in Filter’s “Take a Picture” makes me think of my own deceased father. It leads me to think that quite often our favorite music has less to do with the talent of these bands or artists (though I think them all talented), than it does with the memories we ascribe to the songs.

I have one final thing to say … one word: Suede! (The London) Suede is just an amazing band. If there were only one band that you were going to investigate and learn more about on this list, I would say it should be Suede (I need to hide from all the Annie Lennox fans after stating that, but obviously I think that all of these bands merit being investigated). With the band reunited, there is hope that Brett Anderson will once again lead this band into a studio to record a long awaited (near ten years) album.

(PS - Republica is also officially reunited! And Eurythmics have a new site coming soon, is that a hint for the future?)

On that note, enjoy!

(The London) Suede’s “The Beautiful Ones” from the suedevideo YouTube Channel.



Catherine Wheel’s “Crank” from the CatherineWheelVEVO YouTube Channel.



Mazzy Star’s “Fade into You” from the MazzyStarVEVO YouTube Channel.



Blur’s “For Love” from the emimusic YouTube Channel.



Bjork’s “Hyperballad” from the bjorkdotcom YouTube Channel.



James’ “Laid” from the JamesVEVO YouTube Channel.



Duran Duran’s “Ordinary World” from the emimusic YouTube Channel.



Placebo’s “Pure Morning” from their MySpace video page.


Pure Morning

Placebo | Myspace Music Videos

Republica’s “Ready to Go” from the RepublicaVEVO YouTube Channel.



Eurythmics’ “Seventeen Again” from the EurythmicsVEVO YouTube Channel.



Filter’s “Take a Picture” from the OfficialFilterUTube Channel.

Read more ...

Matthew Seares: "Methodism"

It is time for me (and my collaborators) to buckle down and really work on posting, and where better for us to start than with Matthew Searles’ “Methodism” (25 May 2011). Independent artist and lead singer of Kobayashi, “Methodism” is a solo release, which Searles boasts as “old-skool beat-led electronica.” With that phrase, I think most people would immediately start thinking new wave, osinatos, and “cheap” electronic beeps all over the place that we love to listen to … but if that is all that you want, you are going to be disappointed. I think the “old-skool” here has more to do with music written around rhythm (beats), as opposed to sound effects, and if the music happens to be electronic, it is just so incidentally. That is, though Searles is producing music that is electronic, his goal is not to produce a synthpop or electropop album, let alone something to rave along to, but rather he uses an electronic medium to pen and produce music that is not confined to genre, medium, or a scene. And if that is not enough to entice you to listen, he covers The Kink’s “Lola” – priceless!



So let’s start with “Lola,” the fourth track on the album. Okay, I agree the song has been covered to death – every bar with a cover band will play this one by the end of the night to a not so sober crowd. The thing about this song is that whenever covered, you never escape the original, artists never own this song. Andy Taylor [of Duran Duran fame] could not escape the haunting presence of the original, nor could The Raincoats, and I shook my head “no no no no” when Madness did it. Actually, the only cover of this song that I really ever got into was by Mollies Revenge, which gave it a nice lesbian twist. Why have covers failed? Most people just never understood the song. This was never meant to be a happy, let’s go party song; quite the opposite, it is supposed to be riddled with anxiety and confusion, and Matthew Searles captures that in his voice and music – excellent cover, and this really demonstrates that Searles is not just creating passively, but really thinking.

Over and over, Searles is able to capture mood with voice and music. The following track, “Bounce,” veers into a slightly darker territory; “Stayed up late just to write this song, and by the sixth glass in, well it all went wrong,” Searles sings to beautifully, anxiously layered arrangements. Musically, he captures a sort of ambivalent indifference, while vocally a matter of fact disregard. “31 Flavours,” starting with a bit of gossip from a girl (a motif throughout the song), the song has opening lyrics that are reminiscent of The Cure’s “Shake Dog Shake” (“Wake up in the dark, the after-taste of anger in the back of my mouth…”); Searles sings along to a classic hip-hop underpinning, “Woke up with blood in my mouth, the bitterness pushed the flavour out.” Hefty words to start a song with, but Searles follows through with stream of consciousness, lyrical bombast from beginning to end, while composing a playful song accented by a warm piano. My favorite track on the album, the penultimate, is “Little Steps.” A playful dark wave number, with a vocal style right out of industrial music, this dichotomy mirrors the duality of many of the lyrical passages, like, “I want to disappear; just a little bit” or even “You want to fight, too tired to stand.”

I know nothing about Matthew Searles other than what I can deduce from his music. For instance, one thing that becomes very obvious is that Searles is a music lover … a fan of music, who cannot simply confine himself to one set of musical references. “Methodism” is a plethora of styles and themes that seemingly get woven together through slight sonic motifs from one song to another. But as the collection of songs continues, each song slowly changes form, leaving you with something very distinct at the end from the beginning. It is a sonic journey that flows with ease. And, Searles, if you are reading, I have questions to ask!

Keep up with Matthew Searles at his hoomepage. Head over to his Bandcamp site where you can preview and download “Methodism.”

Here is an audio clip of “Little Steps” from his Bandcamp site.

Read more ...

The Amplifetes: “The Amplifetes”

Okay so it's definitely not too often that I find myself doing my hair in the mirror while dancing and making a fool of myself. Recently I was watching an old TV show online when a French Garnier Fructis commercial came up. At first I was admiring the idea of the commercial itself until I opened my ears to listen to the really catchy song in the background. I think I might have replayed the commercial at least five times before I gave in to look for the actual song. I found it quite ironic that I found The Amplifetes through a French commercial since they are Swedish. Anyhow, I simply decided to take the liberty to review this new and amazing band that has gotten me hanging from a huge pendulum. Over the past few months I have heard layer upon layer of electro-pop music with no (extreme) charm to my chicken parm, so of course one could assume that my musical reservoir has been quite bland… that is until The Amplifetes came to my rescue!

The Amplifetes are in fact a nascent quartet band straight out of Sweden (and of course they have all worked extensively in the music industry before forming the band). Rolling on over with their guitars, drums, and Henrik Jonnack’s (The Amplifetes’ vocalist) amazing beard, The Amplifetes bring with them gifts that not only glow in the dark, but gifts that allow one’s head to weave and bob from side to side while holding a lighter in the air. Despite the fact that we are a year late with their debut album “The Amplifetes,” (14 September 2010 in the USA as an import) it really shows that when exploring we’ll never know what golden treasures we’ll run into.

The first song on this truly electrifying album is “Intro,” being that the name is so simple so is the track. With my first listen the opening of the album reminded me of the “THX (Lucus Film)” intro, so of course it should be known that you are in for something spectacular. The second track on the album (which by far is my favorite on the entire album, which is also the song from the Garnier Fructis commercial!!) is “Somebody New,” a very enticing and hippy-esque song meant to be danced to… or to bob your head like the brothers in Night at the Roxbury. I can say for a fact that this song is as radiant as laser lights flashing back and forth in a club. The lyrics, “This time why don’t you come along ‘cause I need somebody new,” make the idea of getting over someone pop into mind, almost like a rebound song. The next track, which I favor just as much as “Somebody New,” is “Blinded by the Moonlight,” which instantly flung me into a musical whirlwind. The song starts off strong and keeps building on from where it started, with its catchy beat and exuberantly catchy lyrics what’s left to do other than to dance and mimic the words? The first three songs make for a wonderful opening and it goes to show that The Ampliftetes really explore their musical surroundings because it can be felt in the vibe of their songs and the impact they make on the mind verbally.

Following these curvaceously attractive songs comes “When the Music Died,” one could imagine that music might be contraband and the world has gone bland and grey. Yet apparently as the lyrics go,
“When the music died, it saved our lives; that’s because the music died, and when the music died the stars aligned,” which leaves the commentary box open and ready to take any answers for how music dying would bring humans to salvation. The final track on the album which creates a sort of homey solitude is “There Will Never Be another One,” it really creates a sort of ambience to the entirety of the album and brings back those new found memories of David Bowie and lighters in the air.

‘Bravo!’ to The Amplifetes and their wonderfully composed album, with surgically flares of electricity here and there and the sparks that are executed after every new tune in each song, along with Jonback’s extremely soothing yet romantic voice that simply allude the listening into a magical wonderland. But back to reality, if you’re in the mood for something rather elliptical and mind blowing go check out The Amplifetes, I don’t have a doubt in the world about this band, these guys are amazing and their new found fans are totally in for a big surprise!

Track Listing:
1. Intro
2. Somebody New
3. Blinded by the Moonlight
4. Maxine
5. Fokker
6. It’s My Life
7. A Million Men
8. When The Music Died
9. Whizz Kid
10. There She Walks
11. It Can’t Rain All the Time
12. There Will Never Be Another One

Keep up with The Amplifetes at their homepage, MySpace, Facebook, and Twitter.

Here is the videos from “Somebody New,” It’s My Life,” and “Whizz Kid” from The Amplifetes Vimeo Channel.

The Amplifetes - Somebody New from THE AMPLIFETES on Vimeo.

The Amplifetes - It´s my life from THE AMPLIFETES on Vimeo.

The Amplifetes - Whizz Kid from THE AMPLIFETES on Vimeo.

Read more ...

All Will Be Quiet

My thanks to Tatu Halonen for reaching out to me and sharing his band’s amazing music.

Hailing from Helsinki, Finland, All Will Be Quiet is producing its own take of post-rock. What really caught my ear right away is the apparent attention paid to receptivity by a listener; this is not rare in post-rock, but this young band has the songwriting chops of some veterans. This is a big statement, I know, but take a serious listen to what is on offer. Of course naysayers are going to question the quality of sound and other such production glitz that come with being part of a major label; All Will Be Quiet is an independent band, without corporate sponsorship, producing their own music, yet they have artistry, sophistication, and quality that is admirable. Especially if you are a fan of post-rock, take a serious listen.

“All Will Be Quiet EP” (7 April 2010)



With the aptly named title “Intro,” the EP gets off to a slow, dreary start, of layered and effected arrangements, but this is apparently to juxtapose the second track, “I See.” Lost somewhere between post-rock (drums, bass) and ambient electronic, this song earns its epic stature; at nearly seven-and-one-half minutes, the masterful repetition and minimalist, layered arrangements create beautiful atmosphere. And when the beat completely drops, nearly three minutes into the song, the post-punkish guitars really dominate the soundscape, and even when the song completely slows down towards the later third of the song, it is obvious that the band’s intention is to play with the audience’s sonic and visceral reception of the song.

This notion of playing with reception is continued right throughout the EP; reality is that the most effectively post-rock (think Mogwai) relies heavily on this sort of conscious relationship between the music and reception more so than does indie and pop, which typically only has one “feel” throughout a song. “Let Her Live” continues with this play on reception beautifully. “Tomorrow” does not shift its soundscape till the end of the track; however, what is on offer here are strong lyrics to conjure up experiences in the listener: “In time everything will change and fade away. Memories will turn to gray and fade.”

“Washed Away” is hands down my favorite track on this collection. From the musical arrangements to the lyrics, this is an ode to post-punk à la post-rock. From a subtle contemplative repetitive arrangement to a minimalist sinister interlude to a pre-industrial post-punk sound, the song is viscerally stunning. Closing with the titular and eponymous track, “All Will Be Quiet” forces us lyrically to think about the games we all have (or will) play at some point in life: “Hey, can you say, “I’ve done wrong”? This game. You got what you asked for. Hope for the better… All will be quiet.” Musically, the most consistent soundscape in terms of the underpinnings of the song, but it doesn’t make the song “odd man out”; it is all about reception. It is the kind of theme that deserves that sort of consistency in order to drive home the point, and this shift in style is further evidence of careful craftsmanship.

Track Listing:
1. Intro
2. I See
3. Let Her Live
4. Tomorrow
5. Washed Away
6. All Will Be Quiet

“The First Day EP” (3 May 2011)



All Will Be Quiet’s latest offer is a two-track (mini) EP, “The First Day.” Though only two tracks long, it is obvious that the craftsmanship has matured over the last year. The first track, “Writing History,” is subtle, post-punk minimalism, with ambient arrangements and beautiful vocal arrangements in the chorus: “We’ll make it to the books, and we’ll make their fate.” Followed by “A Promise,” this track follows more of the mold of the debut EP: arrangements are played with for receptivity. From passively ambient to abrasively luscious (oxymoron, I know!), unlike the opening track that revolves around the lyrics, this song is about the music, which continuously builds throughout the song.

Track Listing:
1. Writing History
2. A Promise

Keep up with All Will Be Quiet at their MySpace and Facebook. Head over to their Bandcamp site where you can preview and download their music.

Here is the track “A Promise,” shared from their Bandcamp site.

Read more ...

Videos from France

SDM’s (Roman’s) friend, Pym, shared some video links with him, and I got to shift through the videos. So I decided it would be a great idea to share some of these with everyone. Our thanks to Pym! Enjoy the videos.

Rubin Steiner’s “Another Record Story” from the IamRubinSteiner YouTube Channel.



Andromakers’ “Apple Crush” from the YomghY YouTube Channel.



The Popopopops’ “Grenade” from thepopopopopsband YouTube Channel.



My Broken Frame’s “No One” from williamchurch YouTube Channel.



Ladylike Lily’s “Pearl and Potatoes” from the LadylikeLilyTV YouTube Channel.



Manceau’s “Whisper” from the ManceauMovie YouTube Channel.

Read more ...

Daisy Chains: "A Story Has No Beginning or End"

My thanks to Daisy Chains for keep me in the loop.

Graham Greene wrote in “The End of the Affair”: “A story has no beginning or end: arbitrarily one chooses that moment of experience from which to look back or from which to look ahead.” That one line lends itself to the title of Daisy Chains' sophomore album, “A Story Has No Beginning or End” (5 April 2011). In this post-broadband revolutionized world we live in, cultural capital has become more and more exchangeable across national and continental boarders. This is most obvious in music, as more and more national specific scenes in music continue to grow and flourish, while garnishing attention from the outside. No longer do we live in the days that “indie rock” immediately conjured up visions of the UK and USA. Hailing from Italia (not be confused with English noise rock band, Daisy Chainsaw), Daisy Chains has created a sound that references The Velvet Underground and the first wave of avant-garde new wave, post-punk to the first two waves of punk. But this is not indie rock that is an Italian interpretation of what is happening at the Reading Festival; this is indie rock that is fresh and distinct, urgent and vibrant, and further evidence that other European nations have much to contribute to the world of indie rock.



The brand of post-punk that is referenced musically is not that of Siouxsie and the Banshees, but rather that of The Smiths. This is most obvious in how the band layers their musical arrangements, especially in the rhythm acoustic guitar. Opening with the track “Arrogance,” the layering of the guitars is savvy and produces a thick (but subtle) wall of sound. Vocally think of Lou Reed [Velvet Underground] meets Ian Curtis [Joy Division] meets Eddie Argos [Art Brut] – right from the opening track, there is a sense of “matter of fact” about the vocals – a non-feigned take-it-or-leave-it quality, which adds to vocalists Carlo Pinchetti’s conviction as a singer. Being that I am a sucker for a literary reference, I have to mention the second track, titled after Greene’s “The End of the Affair.” The guitars could not sound more 80s, with arrangements that are reminiscent at times to that of early punk rock. The guitar arrangements hook you and are the centerpiece of the song; much like the early Clash, there is never a sense of choppiness to the guitar playing.

This is not a generic take on Anglo-American indie rock; from first listen, there is an air of distinctiveness to the sound. And that is because they can’t help to have some Italian sensibility creep into their music; much like Diaframma or even Alexander Robotnick (though Daisy Chain is not electronic), Daisy Chains has a deep appreciation for Anglo-American indie rock, new wave, post-punk etc…, but coming from outside of these scenes allows them to reinterpret the sound without copying it into facsimile. Take “The Time That We’re Wasting” – the music is as urgent as the title would expect, because of the bass arrangements, which does not parallel the guitars or drums in the same expected way, the music has a more subtle effect. The showstopper comes right after, “She’s Going.” With a soft and near ambient beginning, that makes you think of waving a lighter or cell phone at a show, the song quickly reveals that is really wrapped in second wave punk rock. With an incredible pop sensibility that puts what passes for punk-pop to shame, Daisy Chains demonstrates over and over in this song the ability to play with our expectations of what is about to follow.

Then the closing song, “Vision of Madness.” With the smoothest bass arrangements, the song sonically does tilt towards darker post-punk references, but not drastically enough to make it the odd man out of the album. Thumbs up for the song being a bit anti-climatic, Daisy Chains ends “A Story Has No Beginning or End” on a more ponderous feeling, while keeping a jaunty pop sound. In a nutshell, “A Story Has No Beginning or End,” from beginning to end, is jam packed with gems that may seem to be disparate of what is going on at the moment, but in all actually are all about what their musical references were all about: doing something distinct. This Italian indie band is worth your time to check out and support. (PS - Love the vocals on the hidden track.)

Track Listing:
1. Arrogance
2. The End of the Affair
3. One for Me
4. So Fast
5. Don Juan Aux Enfers
6. Much Better
7. Happy Instead
8. The Time That Wer’e Wasting
9. She’s Going
10. Vision of Madness

Keep up with Daisy Chains at their homepage, MySpace, Facebook, and Twitter.

Here are live clips of Daisy Chains performing “Arrogance” and “Visions of Madness / Monsters & Pills” from the DaisyChainsBand YouTube Channel.



Read more ...

Truck: "Passengers"

My thanks to Scott Taylor for keeping me in the loop.

The best kind of reviews, the ones I enjoy the most, are the ones that are truly blind, in the sense of my knowing little to nothing about my subject. Truck, Canadian metal band, is a completely new world to me. Though a friend of mine made a joke that this blog would eventually become the voice of Canadian metal and French electropop, the reality is that I have gotten more and more press kits and music sent to me at the blog (and they are all welcomed, which we always disclose by the red text line of thanks). Usually the process is opening up the file and listening to the music (perhaps sharing it with Mirage, Painted Bird, and any other current collaborator), and the final decision made if it is going to be reviewed (and by who). One listen to “Passengers” (31 October 2010), I was hooked. All I knew ahead of my listen was that Truck was an instrumental metal band, but this album would feature vocalists on each track … I was intrigued immediately.



Truck is composed of Casey Rogers (bass), Bryan Thomas Sandau (drums), and Scott Taylor (guitar); as an instrumental band, their approach to music is distinct from bands with vocalists. They are free from the fetters that dictate verse-chorus-verse-chorus-bridge-chorus-chorus format (or any variation of); furthermore, they do not have to think about how the music is different from when a voice is present or not. This adds challenge to writing music that will have a vocalist. What I like most about “Passengers” is that having vocalists present in the songs has not deterred what makes great instrumental music: the ability to escape the restraints of conventionality. The album exists in two formats: a completely instrumental one and one with vocals, which is the one I will concentrate on; each vocalist also penned the lyrics to their respective songs.

Kicking off with “Ben Stiller,” featuring Sean Jenkins [of Divinity], the lyrics are a string of Ben Stiller movie quotes; musically, it is the harshness we expect from metal, but it is one of those metal tracks that really depict clearly just how closely metal and industrial really are related to one another. The change-up in the song, especially in the later half, are some of the most sophisticated I have heard in metal. “The Fit Shucker,” featuring Greg Musgrave [of Exit Strategy and Phantom Limb], which strips any feel of industrial for a more solid contemporary take on metal, is music with dramatic flair. This is metal hodgepotch; the song takes variant different strands of metal (from how the vocals are sung to the guitar and bass arrangements) and intertwine them in eclectically alluring way. Musgrave also performs vocal duties on “Easy Feat,” which has sexy Spanish-esque interludes in it, which completely took me by surprise. Easily my favorite track on the album, I have to say that though the guitar in the interludes really hooked me, it is the drumming on this song that astounds me. Most drummers do not astound me, but Sandau proves over and over on this album that the heart of any great band (in the sense of performing the music) is the drummer.

“Rosario” features none other than Steve Moore of The Unravelling and Post Death Soundtrack. Matching the versatility of Moore’s voice, this song shifts through many different soundscapes, some of which are not traditionally metal at all. This is where I give the band credit; it is about not being complacent and expanding the repertoire of what you compose and perform, and though Truck might cringe by what I am about to say, the lighter interludes really boarder on dream pop. Moore also does vocals for “Twenty Four Ways.” The two songs could not be more different to one another. Now we all love change-ups in music, but the change-ups here are so vast, that if listened to in isolation, you might really think it was two different songs, two different bands. But again, what else can you expect from an instrumental band? It is that ability to think unconventionally about music that is the crux of this track. Moore, the only vocalist on three tracks, closes out the album with Truck on “A Diddley.” I am becoming more and more interested in albums that do not end with the cliché big finish. Though far from an anticlimactic ending, musically this is the most “consistent” track in tempo from beginning to end. That thick wall of sound is ever present, but the slower paced interludes are not really that slow or soft, there is no true point of comparison, so sonically you are not overwhelmed – nifty trick. But it’s abrupt ending, which matches the opening’s abruptness, is a perfect close to the album.

Wes Deleeuw [of Brimstone Rise] joins in for the track: “Purge.” In many ways this is the most cinematic song on the album; from passivity to angry anxiousness, the music and vocals collude together for one, tightly unified, visceral effect. “Sad Elevens,” featuring Rod Medwid [of Surface Atlantis], is metal with a true pop sensibility, without selling out its conviction. What I really like about the song is how it uses old style hooks in a vibrantly new way. While “Purge” was the most cinematic, “Paulabdul (The Prey),” featuring Jerrod Maxwell-Lester [of Enditol], is by far the most ponderous song on the album. Maxwell-Lester also loans vocals on “Tobber Tuzzi (The Goon).” I grew up on a healthy overdose of songs like “Let’s Go to Bed” and “Peekaboo,” where vocalists have fun with how they sing. No, this track is not a playful pop number, but it is as playful as metal can get, and I really appreciate that. The music and vocal styles belie the intensity of the lyrics, and this is very savvy and not easy to pull off.

So I was asked while writing this, “Why would anyone care what you, a post-punk, shoegaze, and electropop obsessed writer, have to say about metal?” My response is simple: it is because I am obsessed with post-punk, shoegaze, and electropop that you should listen. The fact that a genre of music that has not spoken to me in years is really hitting a chord, making me turn my ears to listening to something totally distinct, is the clue that I think highly of it and it has merit on its own face value. Truck’s “Passengers” is an amazing album, which has gotten under the skin of this former “goth kid.” Plus in a world where most metal has become cookie-cutter, hollow mirages of music from yesteryear or soulless incarnations for corporate profit, bands like Truck are pointing towards a new direction that people should take note of. So for those lovers of metal, check this out; for those not disposed to listening to metal, take a plunge, check out Truck, follow up on the bands that all the vocalists come from (I have already … amazing stuff), and give Truck a good, fair listen … you may be surprised.

Track Listing:
1. Ben Stiller
2. The Fit Shucker
3. Rosario
4. Purge
5. Sad Elevens
6. Paulabudl (The Prey)
7. Twenty Four Ways
8. Tobber Touzzi (The Goon)
9. Easy Feat
10. A Diddley

Keep up with Truck at their homepage, MySpace, and Facebook. Here is the link to CDBaby, where you can preview and purchase “Passengers” in a physical disc or digital format.

Here is Truck’s video for “The Prey,” which can be seen at director’s Doug Cook Vimeo Channel.

The Prey from Doug Cook on Vimeo.

Read more ...

Mirrors: “Lights and Offerings”

Well first I’d like to start off by saying good riddance to a very busy week, and now let’s get down to business: hopefully Mirrors isn’t an overlooked band because quite frankly they’re extremely entertaining.When in transition to solely an auditory state, one is indefinitely encased in a room with four soundproof walls. A short time ago, it crossed my mind to review Mirrors’ “Lights and Offerings” (1 March 2011 us the USA). When I first listened to the album, for many reasons I pushed it away again and again because synthpop was never really my strong point, but as one who is always willing to increase my musical horizons I gave it a chance. Again and again, the more I listened to the album the more I became adapted to it. Eventually I was struck with pure and utter curiosity; I became intrigued by the way that they could convey their almost retro tunes. Being a big fan of (80s) electropop, Indie, Tango, and everything else in between, I found it strange to waddle out of my normal listening area to this select amount of tracks. Personally an accurate depiction of this album would have to be cruising down an anxious highway with a nonchalant look upon your face, and before you know it you’re home at last.



The race begins with the electric intro “Fear of Drowning”; reduced to smithereens would be a proper word to use when describing this track, but we are reminded of that highway with the evident twists and turns that are evident in the track. “And now the rains falling in, greasing your skin, the fear of drowning again,” slow down music driver, it should be remembered we are still on the mindset of driving on that highway; with such enticing lyrics such as those I was sent on a drifting thought that tied together the “Fear of Drowning” and no longer cruising but being struck with a small anxiety attack. With the help of the repetitious beat and singer James New’s rather haunting voice, you are most seemingly rescued.

My favorite track on the album has to be “Hide and Seek,” because I was strongly reminded of “A-Punk” by Vampire Weekend; I recalled a similar beat that was played in this song and soon enough this song became really catchy. I could officially say that Mirrors had finally got a strong hold on me with their vibrant synthpop tunes and elaborate ways of conducting an electrical sound. Also I realized why it took so long for me to accept this album — I wasn’t born in the 80’s, although this probably has nothing whatsoever to do with the band, I still feel like I am listening to A-Ha’s “Take Me On,” but on a rather musical note Mirrors is really good at entrancing their listener!

“Lights and Offerings” will probably be one of the first albums that have revolves solely around that of synthpop that I have ever truly enjoyed. Despite a massive amount of stubbornness on my behalf, I was introduced to a genre that leaves me looping song consecutively just because I like the way it sounds. What’s more to say other than this album might have you too looping and dancing like a robot; it’s definitely worth the listen so cruise on over!

Track Listing:
1. Fear of Drowning
2. Look at Me
3. Into the Heart
4. Write Through the Night
5. Ways to an End
6. Hide and Seek
7. Somewhere Strange
8. Something on Your Mind
9. Searching in the Wilderness
10. Secrets

Keep up with Mirrors at their homepage, MySpace, Facebook, and Twitter.

Here are the videos for “Look at Me,” “Way to an End,” “Hide and Seek,” and “Into the Heart” from their YouTube Channel: m1rrors.







Read more ...

The Android Angel: "Marble Sun"

My thanks to Paul Colto for keeping me in the loop.

In my time writing this blog, really getting in the trenches and researching music and a wide range of artists, the artists that I have really come to admire the most are the truly independent artists. These artists, who do not have the support (or the corporate fedders) that comes with the support of a major label, continue to produce music that is often under the radar of most music aficionados. The Android Angel, the brainchild of Paul Colto, falls into this category. I need to be upfront … I reviewed Android Angel’s “Glow Worm” (link), and a few e-mails later followed up the review with an interview (link). While Colto was visiting Brooklyn, he was crazy … that is kind enough to sit down with Mirage and conduct a small interview on camera and perform his song “Hey” in McCarren Park (link). While we walked about in Wililamsburg, down Bedford Avenue, Colto confided that during his time in New York City he was composing his upcoming album. “Marble Sun” (6 June 2011) is the culmination of his time spent in New York City, and with a touch of his Surrey sensibility and New York influence, “Marble Sun” is a beautiful collection of ten songs that reminds us that our every day experiences, which we often take for granted, can be some of the most grandiose moments of our lives.



Inviting you into the oasis of the album is “Long Meadow,” a tribute to Prospect Park – one of New York City’s oases in Brooklyn where one can take a break from the hectic urban existence. For those of us who are familiar with New York City, track-to-track, we are invited to experience and/or reconsider once again what has become familiar and hackneyed, ignored and taken for granted. Though I typically use the Williamsburg Bridge, the track “Brooklyn Bridge” is an ode on a world icon. Here, Colto uses the imagery of the bridge to represent a moment of transcending from the normal everyday to new experiences: “untold scenes lie in wait for me.” And it is an apt metaphor for the listener: as we listen to Colto’s impressions, we experience what we have taken for granted anew. And for those who have never experienced New York, as you listen you are invited to experience a new world from the eyes of an outsider.

I rarely believe in the authenticity of a lyricist’s point of view; I cannot imagine or believe that every song written by any artist is about their own experiences, as opposed to having been inspired by the narratives of others, literature, films, etc… “Marble Sun,” however, is one of the few albums that the authenticity is simply not questionable. Other than “Brooklyn Bridge,” all of the songs were written while Colto was in New York City for a few weeks. “Toodle Pip” (my favorite track on the album) is his impression of Bryant Park, where the nearby “buildings touch the sky,” realizing towards the end of his trip that he will be leaving soon. And of course, his love letter to New York City, “Oh My Love,” is heartfelt when he promises that “there will come a time when I will come back to you, hold you and love you as mine.” But it is not just the lyrics that are authentic … even the music breathes authenticity. Take the manic “Slippers” – the music symbolically represents the frenzy of The Avenue of the Americas. It is not often that we consider connecting music as a means of describing topography, but Colto does it beautifully.

And speaking about the music, the album easily streams through rock to savvy pop to introspective acoustic. Though I love the lusciously arranged layers in the rock songs, it is the acoustic songs that really have stolen my heart; Colto has a natural talent to strum that acoustic guitar. Like the prior album, “Glow Worm,” “Marble Sun” is emotionally bare … this is music that is not just meant be heard and enjoyed, but also felt and pondered on. And anyone who has ever traveled (like myself coin tossing at the Trevi Fountain) will relate to this album – falling in love with a foreign city, to see it beyond the jadedness of the natives, and appreciating something that you are leaving behind. Furthermore, this third album continues to build on what The Android Angel has built: regardless if the track employed bigger or smaller arrangements than the last time, his ability to stir the visceral is greater. His consciousness as an artist in a larger world has grown. And the overall quality of his craftsmanship has matured and continues to develop, while flirting with new ideas. Leave it to Paul Colto, The Android Angel, to produce an album that really makes you reconsider everything else you have listened to earlier in the year.
.
Track Listing:
1. Long Meadow
2. Slippers
3. Call the Curator
4. Lafayette Bloomed Violet
5. Photographers or Ball Players
6. Brooklyn Bridge
7. Toddle Pip
8. Oh My Love
9. La Orana Maria
10. Concealed Reveal

Keep up with The Android Angel at their homepage, MySpace, Facebook, and Twitter. Head over to the their Bandcamp page where you can preview and purchase “Marble Sun” (hint, do this ASAP!).

Here is The Android Angel’s video for “Brooklyn Bridge” from the deadbycinemafilms YouTube Channel.

Read more ...