Ulrich Schnauss - "Medusa"
The new Schauss eschews the instrumental-only policy of the previous albums and takes a more traditional shoegazer tack. Gone is the slowly unfolding childish whimsy of previous releases, replaced by a more menacing tone and multiple vocalists. This particular tune has a menacing pace not unlike Curve, but with an undistinguishable male vocalist. Spun a different tune on 7/12/07 due to time constraints.
Loden - "Vlugt (And More For You)"
Favorably aligned with the instrumental bits found on M83 records, this tune contains a repetitive synth splash which eventually is supplanted by more overt beats splashing across the landscape. It's more friendly that the typical M83 dirge, with a synthline used to approximate vocals in soaring fashion and a distinguishable chorus-like change in the beats.
Lights Out Asia - "Four Square"
Were aren't out of the shoegazer forest yet, as here's another attempt harkening for the days of incredibly flanged guitars. Lights Out Asia specialize in the type of tunes that commence with a laid-back instrumental vibe but slowly build in tones and layers to a raucous cacophony. There's nothing overtly ear-splitting about the whole mess, and it all abruptly drops out to reveal a backbone of guitar squall before the fadeout. Occasionally fey male vocals work their way into a song, but for the most part the "is it or is it not background music" question isn't answered until the song is well underway. Played on 7/5/07.
Airiel - "Mermaid In A Manhole"
Those of you who prefer your rock shoegazer style have a friend in Airiel. Two distinctly burly guitars whang along behind a vocalist that has studied extensively at the Ride school of singing, with plenty of odds synth tweaks forcing their way into the mix. As a whole the album's pace varies quite a bit, roaming the shoegaze landscape for diverse inspiration that's still consistent in style. Played on 7/5/07.
Northern Picture Library - "Snowscene"
Robert Wratten completists will appreciate this gift from LTM, a release of a rarities package containing singles, eps, compilation tracks and this unreleased effort from the Alaska sessions. Annemari sings in her trademark sweet but dour tones in this typically pretty yet pouty song which fits in well with the "Skylight"s of the NPL library. Played on 7/19/07.
Bat For Lashes - "What's A Girl To Do?"
A 60's throwback in both style and drama with danceable touches that make it reminiscent to early Saint Etienne or more recent El Perro Del Mar releases. Played on 7/12/07. Unfortunately this female-fronted tale of love gone sour was the only jewel worth unearthing on their full-length. "The thrill is gone" indeed.
Interpol - "The Heinrich Maneuver"
Based on the stickers plastered to the front of the new Interpol CD sitting in the display racks at Target stores coast-to-coast I surmise this song is the single. That status didn't stop me from playing it on 7/19/07. I concur that this is the record's finest minute(s), thought repeated listens have not revealed the lyrical connection to the Chicago Bulls point guard. Nevertheless I'm confident in saying there's nothing as fascinating as the high (or even mid) points on Turn On The Bright Lights but at the same time is not as forced as the jubilation contained within Antics. So give 'em 3 stars and move on to better things.
The Book of Lists - "The Bathers"
OK, this may not be the promised "better thing" ... in fact it's rather similar with pseudo-goth vocals and repetitively strummed guitars. However, the poor recording quality here (un?)intentionally melts the rest of the instruments into a muddy black hollow paste that denies the song its punch.
The Big Disappointments - "Dance Track Budokhan"
Do they live up to their name or not? I'll vote in the negative (which is positive for those keeping score at home) for this homegrown jangle punk efforts. I like how the bassist plays every note so distinctly, lends it an 80's punk vibe that works nicely with the insistently scratchy garage guitar and drums. Well-recorded as it delivers on its intentions.
Daddy's Hands - "Gentlemen You May Stand Down"
Maybe that bracing brand of Gun Club rock is making its way back into favorable fashion. The vocalist drawls every syllable to the raspy edge of his throaty voice while an equally splayed country punk guitar wrangles the maximum from every plucked string. Refreshing, played on 7/19/07.
Frisbie - "I Speak Your Mind"
The rationale behind reserving this track was the hope it would reveal itself with Sloan style powerpoppy pleasure purely based on the description. The chorus provides some hope for more goodness which is quickly eroded with the persistent presence of thin keyboards that betray a distracting infatuation with 80s chart pop (think Huey Lewis or some other unholy blend of genres like the Fab T's). This Elvis Costello Armed Forces era attempt quickly takes on water and the situation becomes more desperate with a Tom Petty-esque solo, eventually submerging the tune.
Sweetwater Abilene - "KY3"
Another question mark here, generally if I think there's potential for future appreciation I'll throw a song into the mix for further exploration in hopes that repeated airing with unearth some charm. The flavorful center of this song is the short guitar solo that leads us out of the chorus, but the rest of the song doesn't compel me to spin its combination of decent trash can drums and awkwardly deep vocals.
Bumps - "A Dumb Month"
Tortoise related effort on Peanut Butter Wolf's Stone's Throw melds deeply reverberated drums with some synth bits that typically don't make the two minute mark, limiting its potential usefulness as background music fodder and instead moving it into the realm of potential PSA backing. Too short for much of anything else.
Oh No! Oh My! - "Oh Be One"
"You are my only hope oh be one." If you get that forced sci-fi reference then you've understood the apparent point of this ep track. Not that there isn't anything else to recommend, in fact that persistent handclapped percussion and elongated oh-oh backing vocals are big pluses. Oh No! Oh My! always include a kitbag of interesting instruments on their releases and here a wandering piano touches the song in that special way.
Of Montreal - "Du Og Meg"
My unconscious mind has me reach for the latest Of Montreal during every trip to the record store, claiming further inspection will reveal 70's and 80's rock charms that will overwhelm my persistent reservations about their overly precious lyrics that seek impenetrability for its own sake. This ep track can be entered as evidence for the further exploration verdict, with a Buggles-esque horn flourish soon followed by a full-on sax solo wrapped around a tune that may or may not be about a girl caught up in the bottom reaches of a rock and roll lifestyle.
The Self-Righteous Brothers - "Graduated Cylinder"
To dash or not to dash? The website says nay, the cd case says yay. Either way I will gladly forgive the punny name thanks to their unpretentious blend of acoustic pop (with a smidge of electrified elements). This jangly confection of earnest vocals and plinked pianos gives the various elements plenty of space to shine along a path to an abrupt conclusion. The album suggests that if an extra instrument is needed to provide an increased cacophony quotient this band is willing to seek it out.
Bonnie Dobson - "Let's Get Together"
Revola reissue of this folky female with much more instrumentation than that description infers, as this cover of the Kingston Trio / We Five / Youngbloods song is lavished with plenty of strings (wait for the short solo near the end) and a period-perfect fat bassline. This song is also famously (and very effectively) quoted at the start of Nirvana's "Territorial Pissings"
First Class - "Dreams Are Ten A Penny"
Compilation of tracks from the band best known for early 70's hit "Beach Baby." I save these things for future Lost and Found applications, if I ever muster up the appropriate reservoir of patience to do a fill-in on that show again. In fact, this one explicitly states "lost and found" in the chorus, making it doubly useful in that regard. Otherwise it's typically overproduced early 70's chartpop which believes that if you're gonna slather on strings you might as well put a horn solo in there and if you've stumbled upon a decent chorus you might as well repeat it six times within 2:30.
John P. Strohm - "Sha La"
Former Antenna frontman and Blake Babies emmber spits out a solo record which hints at country-rock without quite crossing in the line. This song goes down much like an early 80's attempt by Jackson Browne to do powerpop, it's flavorfully smooth and certainly admirable if not terribly compelling. If it makes you happy ...
M Ward - "Beautiful Car"
Upon first listen this is a slight and simple guitar tune, quickly tossed off and released. Another pass with headphones reveals that quite a bit more effort was expended on these recordings beyond the initial mic and tape recorder setup. Even still it's tough to divine much of a lyrical point from this short reminiscence about a nice vehicle which includes a reference to a deceased schoolmate for flavor. Played on 7/5/07.
Howard Hello - "Lazy"
Their electronic inclinations ar emelded with some very precise acoustic guitars on this ep. Vocal track upon vocal track alternately talk, coo, float and burble with some phone company samples that eventually drop abruptly from the mix. Still it never diverges from its rather lazy pace and probably should end at least a minute before it finally wanders to a halt.
Misha - "Summersend"
So is that supposed to be summer's end or summer send? Not sure, also not sure if it matters. This song creates an initial impression as the work of an electronic based act but careful listening reveals the majority of the music is organically based, with a post-punk bass matched to gentle acoustic guitars and multi-layered male/female vocals (neither one very strong mind you). Their pastoral patience develops into a laid-back dance track vibe without ever suggesting a true destination.
No comments:
Post a Comment