Listen: Golden Suits - "Bad Timing"

photo by Sammy Goldfien

Though he released his follow up record to his self titled debut late last year, Golden Suits is back already with a new jam. "Bad Timing" is a jam in every sense of the word: following in his newfound Springsteen-esque sense of grandeur displayed on Kubla Khan. Despite the big licks and the aim-for-the-cheap-seats matter of size, Nicolaus' lyricism remains its equally relatable and intimate brand of strangely upbeat heartbreak pop. As he ponders what constitutes a missed connection: whether simply bad timing or something more self-defeating, Nicolaus paints a captivating picture of self-doubt and self-reflection that doesn't quite arrive at tidy self-actualization. It's aware but awareness doesn't always get you the girl. Or that's at least what Nicolaus offers up as the track gathers up steam and sort of snowballs into a delightful full band affair featuring back up singers and the like. It's not uncharted territory for Nicolaus but it's a definite show of strength for a man normally known for balladry.

Listen to Golden Suits' new single "Bad Timing" now:

Listen: Golden Suits - "Is It Wrong"

photo by Sammy Goldfien

When Fred Nicolaus made his solo debut back in 2013,  I had a lot of expectations. Expectations established from years of listening to his former band Department of Eagles. Golden Suits, both the new moniker Nicolaus elected for his new venture and the album named  after said moniker managed not only to exceed all my possible expectations but highlight in retrospect Nicolaus' strengths as part of the Department of Eagles duo. Golden Suits was an album of accomplished songwriting, polished chamber pop, and agile indie rock beaming with sincerity and established without a shadow of a doubt that Nicolaus' deft lyricism was on par with Daniel Rossen's despite Nicolaus' slight detour after their hiatus.

On "Is It Wrong", the first taste of what's next after Nicolaus' heart-on-his-sleeve debut, Nicolaus obfuscates the literary influences in favor of a much more straightforward delivery and leans into his more traditional rock influences over the crispness of  the arrangements of the debut. Where Golden Suits tracks' seemed meticulously and pristinely crafted in its entirely, "It It Wrong" is built around its colossal choruses; where Golden Suits was steeped in the heartbreak of what could be and never would, "It Is Wrong" radiates with positivity even in the face of uncertainty. Nicolaus approaches both the songwriting and composition of "Is It Wrong" from such a dynamically different place than his debut and the result is a song that pushes the sound of the debut forward but not into completely uncharted territory. "Is It Wrong" is the incremental progress that happens when life goes on, different in ways but not wholly divorced from it's source material. Happy is a decidedly good sound for Nicolaus and Golden Suits and "Is It Wrong" has my interest piqued in what more of that would sound like. Here's hoping it's not too long before Nicolaus delivers.

All Around Sound Is Turning Five - Day 1: Golden Suits

Whoa what. When I started All Around Sound in the beginning of 2010 (March 10th if we're being particular) at the urging of one of my very best college friends Ryan, I never could have possibly imagined that it would be a thing I would devote huge batches of my time nevermind years to. And yet, here we are. All Around Sound is about to enter it's fifth year in operation. It's a milestone to be sure but every post is a milestone moment - written with near-fathomless love and a just toned down enough sense of urgency that it seemed apt to celebrate this grander moment in very much the same way it has been in the years before - through the customary mix swap of sorts. 

photo by Sammy Goldfien

While I arrived at Department of Eagles just in time for them to play their last show and head into an indefinite hiatus, there's a lot to be said for their effects on my music tastes. In Ear Park was one of the first "experimental" records I heard where I didn't feel an overwhelming bit of pretension, its arrangements were next level, and the lyricism on a wholly different caliber than I had encountered that I immediately immersed myself into Department of Eagles rather shallow catalog. If you've been unfortunate enough to hazard a conversation with me, I've most likely either made a passing Department of Eagles reference or erupted into a full on rant about how/why Department of Eagles are better than Grizzly Bear. 

I'd be lying if any time Daniel Rossen announced an album, tour, or any sort of news at all or when Fred Nicolaus emerged out of years of hiding in plain sight with a newly monikered project that I didn't immediately imagine the Department of Eagles reunion of my dreams. That's yet to happen but the resulting output from the two have been just as good. Fred Nicolaus' new album under his new Golden Suits moniker serves to illuminate just how nimble a performer, agile a lyricist, and earnest a singer the man is for those tragically unfamiliar. It's Nicolaus' stepping out and he does so with such subtlety and grace that it was unsurprising that it wound up being one of my favorite records. Fred is such a deft hand at capturing the subtle nuances in the variances of mood that it seemed like a no-brainer to ask him to put together a mix for All Around Sound's birthday and he doesn't disappoint. 

In Fred Nicolaus' own words:

"When you love an artist, there comes a time when you reach saturation point with their "classic" period and start to wade into the dark waters of their "lesser" albums.  For Randy Newman, who I deeply love, the darkness roughly coincides with a decade - the 80s.  Though 80s pop references are very much a hallmark of the current zeitgeist, Newman's stuff still somehow evades coolness - I have a suspicion that no young Bushwick bands are looking to "Trouble In Paradise" for synth tones.  Still, I got tired of listening to "So Hard Living Without You" for the thousandth times a couple years ago, and started to dig in.  Some of it is fun bad, like "Pants," which finds Newman yelling in a Dad-in-the-shower voice about taking off his pants on top of some yuppie blues rock.  Some of it is just bad bad (pretty much all of "Born Again") and some of it is frighteningly lame - on "Masterman & Baby J," Newman actually raps a couple verses (for real).  Still, there are a few gems, my faves are collected below.  It's mostly ballads, but I always liked R.N. more as a balladeer than a satirist anyway - when the cranky, smart, sarcastic guy writes a tearjerker, you trust it more.

Thanks so much to Fred Nicolaus for his beautiful unexpected mix of Randy Newman ballads and for low key helping to lay the groundwork for the only Department of Eagles reunion I may be able to achieve (here on this blog). Stay tuned the rest of this week for mixes from some of my favorite bands, blogs, and music friends old and new.

All Around Sound's Favorite Albums of 2013

It may not actually be true but this year at least seemed to be extensively stacked with follow ups from returning artists rather than a year which overflowed with impressive debuts. Whether those bands/artists had essentially released an album not too long ago (Alessi's Ark, Teitur), followed the traditional release schedule of an album every other year (Arctic Monkeys, Telekinesis) or appeared after a lengthy hiatus (Basia Bulat, Johnny Flynn), 2013 was filled with an impressive series of releases from more established acts. That's not to say there weren't impressive debut records to be found this year but rather, there was deluge of excitement-stirring announcements from bands newly out of the studio or that had finally gotten the go ahead from their label and/or distributor to make this their year. This year's list, like last year's, features a collection of my favorite records released this year in no particular order other than how they came in to memory.

The Dodos - Carrier
San Francisco duo The Dodos might very well be one of the most underrated "popular" bands going right now. Around the release of their albums, there's a justifiable buzz of interest that always seems to fizzle out a week or two after the record. Maybe that's just in my circle but they're a band with an incredible level of consistency while also offering up remarkably good ideas. 2011's No Color was an all around winner and this year's full length Carrier ups the ante a bit. In part a tribute to the recently departed Chris Reimer of Women, the guitar stars on Carrier in a way that it hasn't really been spotlighted before. Sure, there's still the percussive momentum that galvanizes the duo's oddly accessible guitar rock stylings but strives to be and achieves the goal of being the duo's most introspective album. Each of the album's tracks has absolute magnificent moments of beguiling melodic work and Meric Long's expansive experimentation with different guitar tones and curtails Kroeber's energetic drumming for emotional depth and a much more lyrical focus. It's an album that takes what worked well on No Color (backing vocals and strings) and utilizes them again while expanding them and pairing them up with new ideas. Carrier perfectly balances those moments of quiet, rumination ("Relief", "Death", "The Ocean") with moments of liveliness and jubilation ("Substance", "Confidence", "The Current") sometimes doing so in the same song ("Transformer", "Destroyer").

Lucius - Wildewoman
I still remember my initial discovery of female-fronted Brooklyn pop rock quintet Lucius - it was perhaps my most visceral response to live music in my entire history of attending live shows. Normal show etiquette seemed an unfathomable burden to me. Who was this band? Where did they come from and how was I only now discovering them? How the hell were they so damn good? These are the questions I wondered aloud in a crowd of showgoers who probably wanted nothing more than for me to shut the hell up and enjoy the show. Lucius, with their 60s girl group retro rock vibe and infectious melody and head-spinning harmonies, were easily one of my favorite new bands and their live energy was unmatched. While I lamented that last year's self-titled EP failed to capture the true spirit of their live show, I had hope that when the fivesome finally put their debut album into the world all would be well. They didn't. Wildewoman, while featuring all five members as a band instead of focusing merely as a spotlight for Jess Wolfe and Holly Laessig future separates the group from their electric live energy. The songs that carried over from the EP are remixed, reproduced toward a far less organic center. "Hey, Doreen", the album's true pop behemoth is a multitude of layers that's notably difficult to pull off live. And yet, even with its production choices, Wildewoman is a gem of an album. The new tracks full of Lucius' trademark smiling, winking charm ("Wildewoman", "Nothing Ordnary) or resonant emotive core ("Tempest", "Monsters").  While others like "Two of Us On the Run" "Until We Get There" and "How Loud Your Heart Gets" spotlight the ladies' ferocious and soulful vocal prowess while relying very little on the group's formidable pop chops. Wildewoman is a balanced effort which feels a whole lot more inclusive than last year's EP. It's a debut album of practically overwhelming strength even if it neglects to make proper use of the band's full potential.

Steve Gunn - Time Off
I would've missed the boat entirely on Steve Gunn's excellent, excellent record Time Off if it didn't come with the highest of recommendations from Daughn Gibson when I tapped him to participate in this year's blog birthday playlist extravaganza. Steve Gunn has and will probably continue to receive comparisons to all the greatest guitar players of all time and for good reason - Gunn's guitar prowess is awe-inspiring. Not in the flashy showman way of rock guitarists but for Time Off's thoughtfully spun narratives, Gunn wields his guitar as an extension of himself - indulging in a great deal of musical world building before the first verses are even sung. His melodies are vibrant and memorable, simple in terms of their pleasant ear-catchingness but complex in the dazzling array of colors he infuses his tunes with his instrument alone. Time Off is all wind-swept sketches that fully embrace less is more and is all the more impressive for it. Gunn's smooth uncomplicated rambles are paired perfectly with his effortlessly clean bluesy guitar lines and the results are pure synergistic excellence where the journey IS the reward.

Little Tybee - For Distant Viewing
Little Tybee's third full length record is a true testament to taking your time to really allow a record to gestate. Originally slated for a release right on the heels of 2011's Humorous to Bees, circumstances caused the album to be delayed and a strong argument can be made for the positive in that. Each song on For Distant Viewing seems to take its time, stretch its legs and hang around for awhile - from its eponymous opening track which luxuriates in its rapidly shifting musical ideas and multitude of layers so much that its climactic "Get down!" is like a jolt to the system, galvanizing not only the track itself but your interest in it. Little Tybee are a band of incredibly competent musicians and For Distant Viewing probably more than any other album gives the band the space to truly display their individual talents as well as the ensemble as a whole - featuring a series of rousing instrumental breaks and intense jams.

Typhoon - White Lighter
Forgive me if it sounds like I'm gushing but bands like Portland's folk rock collective Typhoon are a rarity. Boasting a bewildering 11 member roster, they're stunningly agile - utilizing their members not only effectively but also efficiently refusing to let anyone fall by the wayside or be deployed solely as an ornament. While Kyle Morton's songwriting talents are ultimately beyond reproach, the band gathers around them like moths to a flame letting their talents mingle with his in such a way that Typhoon never feels like just a vehicle for Morton. White Lighter continues the band's life-affirming, soul-rousing brand of highly literate rock while also polishing it in a way it wasn't on previous full length Hunger and Thirst. White Lighter plays with it's own established themes, lyrics, and melodies - recalling them cyclically and climatically with greater purpose than if it discarded them when first applied making White Lighter a much more resonant album than most. It's an album of passionate epiphanous moments freely given though filtered through a rock lens so you're not really aware you've learned anything at all. But Morton's open-armed embrace of sickness, weakness, and death and Typhoon's verisimilitude make White Lighter and album that'll stick with you long after it's done playing.

Golden Suits - Golden Suits
When I heard Fred Nicolaus from Department of Eagles was working on a solo record, I was excited. When I heard Daniel Rossen was assisting with it, I was ecstatic. You see as someone who's been carrying a major torch for Department of Eagles, this was a dream come true. A potential reunion of sorts. But Fred Nicolaus' first solo record under the name Golden Suits isn't a Department of Eagles record. Not in the slightest and that is perhaps it's greatest strength. Alone, Nicolaus' talents are far more out in the open. While Golden Suits follows in a long trend of heartbreak-fueled records, it manages to distinguish itself due to Nicolaus' excellent lyrical gifts, guitar prowess, and uncanny knack for melody. Each track on Golden Suits is composed of a little memorable extra that elevate it from good to great. Considering Fred Nicolaus is no stranger to the music industry/music-making in general, it's not really a shock that the man can craft of considerable worth but what is, and pleasantly, is its subtlety and gentleness in asserting itself as such. The song Cheever-inspired character sketches frankensteined with real life inspiration that never lets itself wallow. Golden Suits is an album of half-smiles, self-aware chuckles, and the occasional frown or two but it's an album that embraces the positives of emotional devastation and starting over again. The songs are casual reflections - never ascending to "baby come back!" level of pining and reverberate with a quiet cathartic strength even as Nicolaus rattles off the occasional self-deprecating lyric. It's also features damn good arrangements that heighten everything from narrative drama to aural pleasure.

Villagers - {Awayland}
There's always talk of singer/songwriters particularly those of the folk variety of being poets but for few people is this actually true than of Conor O'Brien of Villagers. And yet, the simple, quiet resonance of 2010's Becoming A Jackal had clearly done its damage - when O'Brien and company returned late year the game was clearly renaissance. "The Waves" and "Passing A Message" with electronic-stitch sonic tapestries and grooves were a statement of purpose and yet even despite the unexpected 180, O'Brien's narrative voice - of pitch-perfect descriptive lyricism was present if not honed. {Awayland}'s songs cover a dramatically different scope of emotions - no doubt born from the live energy cultivated from a touring behind the first record but also filled with an excitement of new paths tread. {Awayland} manages to keep what has worked well with Villagers in the past while also engaging in a great deal of reinvention. O'Brien's lyricism is clearer, more eloquent, and far more visceral that comes off as a very natural progression for Villagers.

The Heligoats - Back to the Ache
The Heligoat's frontman Chris Otepka has always had a way with the English language - elevating mundane details to high revelance due mostly in part to his own fascination with them and an ability to deftly use his words to make them something of interest. While Goodness Gracious dealt with a lot of the bigger questions we ponder - Back to the Ache shrinks down the focus to a molecular level. While also taking Otepka's curious attention to the details and employing in on whole level entire - that of his band. Back to the Ache functions far more as a band record than Goodness Gracious with those songs not likely to suffer if stripped down and played solo (which Otepka has done) in the latest album, there's an feel that would no doubt be lost. The album is really good old fashioned indie rock - strongly so with the added benefit of Otepka's lyricism. That's essentially what makes the album - the inclusion of a noticeable full band sound while retaining Otepka front and center.

Camp Counselors - Huntress
I'm a sucker for a good, original concept and an album inspired by old horror movie soundtracks was certainly original enough to pique my interest. That it was another effort from Cemeteries mastermind Kyle Reigle was another. Huntress, the debut record from Reigle's offshoot project Camp Counselors manages to create a distinctive brand of accessible synth pop while staying true to its initial inspiration - the lyrics are dark and mysterious, the aura eerie and otherworldly, and the beats undeniable. Huntress is a record as methodically established and embellished as the rules of the genre it sees to emulate. It's the perfect example of how an simple idea - in this case Reigle's lifelong obsession - can flourish into something truly spectacular. A great concept album doesn't have to be epic - it just needs the right mix of ambition and excitement and Huntress is a testament to that. Tremendously enjoyable in its own right while laying the groundwork for Reigle's further experimentation distinguishing it as far more than a fun throwaway and more as a benchmark of innovation.

Son Lux - Lanterns
There's something to be said of composer/arranger Ryan Lott's third outing as Son Lux. Lanterns encapsulates so much about what Lott such an interesting artist. It's no so much that Son Lux has fallen into a consistent groove as it is Lott continuously pushes the boundaries of his own creative process while offering works that are boldly experimental but still intensely engaging. Lanterns is a remarkably complex record, of that there's no question, but it's not a record that requires a lot of superfluous mythology or is challenging enough that its enjoyment isn't immediate. That's essentially my favorite thing about Son Lux and his creative process. There's a hell of a lot going on behind the scenes - as Lott cut, pastes, rearranges, and otherwise toys with the concept of linear songwriting but the end product is always something that is unquestionably beautiful but appears effortlessly so. Lott isn't the kind of experimentalist that thrives on exclusion or inaccessibility and that's always an endearing feature of his works of which Lanterns is no different; even carrying over the illumination theme of lanterns from sophomore effort We Are Rising's "Flickers" and expanding it in a whole new set of ways.

Young Man - Beyond Was All Around Me
After discovering singer/songwriter Colin Caulfield's Young Man project during the last quarter of 2012, I approached Beyond Was All Around Me, the final installation of Caulfield's Young Man moniker, with both a sense of tremendous anticipation and dread. There were, to me, so few male singer/songwriters actually discussing issues that were uniquely pertinent to a twenty-something male and I was both sad to see the project go and exciting as how Caulfield would tidy the whole thing up. One the last full length of the project, Caulfield plunges forward both in terms of his newly implemented band who imbue the album with an immediacy and spirited delivery we hadn't seen before. While Caulfield excelled at thoughtful, careful plotting on previous releases, there's no denying the excitement inducing fast-pacing. Caulfield's approach to the tail end of his saga is delighfully open ended but not frustratingly so. His future may take the form of an eternal ellipses but he does engage in a far bit of speculation. What's more, there's an incredible sense of closure gained from Caulfield's incorporation of many of the hallmarks of his other records - namely the return of string arrangements and themes. Beyond Was All Around Me is not only a perfect end to Caulfield's ruminations but also a stellar record on its own merits.

Young Dreams - Between Places
It's rare that I give in completely to total anticipation than I did upon discovering Norwegian orchestral pop group Young Dreams. Led to them by tourmate/champion Sondre Lerche, I was pretty much sold from fading strains of "Dream alone, wake together" and with each subsequent single release my enthusiasm rose and I became more and more certain that Young Dreams debut full length would be a truly worthwhile listen. Between Places exceeded all my possible expectations - expanding the sextet's tropical-inspired nostalgia-riden vibes into a full on masterpiece. On one end - it works as perfect collection of would be singles but also functions as a cohesive unit and doesn't steer clear of longform song structure - devoting a whopping 18 minutes and change towards the album's conclusion towards artistically plotted experimentations. As if the six songs that proceeded them weren't enough, Young Dreams go all out here - demonstrating their influences and overall musicianship pretty aptly. As a whole, Young Dreams' Between Places is musical escapism at is finest - recalling bright sunny days and balmy temperatures, and the optimism and thrills of youth without any of the poor decision making involved. It's an exceptional debut from a band bursting with ideas but fluent enough in pop to get them all out there patiently.  

Buke & Gase - General Dome
To say there are few bands as innovative and boundary-pushing as Buke & Gase seems a little obvious but also a bit of an understatement. Buke & Gase have essentially through pure ingenuity ultimately created a sound unlike any other, that was essentially the beauty of their debut record Riposte and General Dome proves that there's really no limits as far as the band's creativity is concerned. General Dome both manages to be completely unlike their debut while still sharing a common distinct sound - namely in the cacophonous energetic cerebral sprint that is Buke & Gase's form of music making. There is, of course, a grand arching concept to General Dome but that doesn't distract at all from it's accessibility - an accessibility that is actually rather surprising. While Buke & Gase are one of those truly rare bands where literally no genre can/will stick to them, there is no getting around the fact that their songs are distinct, memorable, and dare I say downright catchy.  General Dome expands the wonderfully psychological elements of Riposte to dramatically levels bordering on paranoia. The result is a heady rush of thrilling rise and falls - from manic screams to hushed whispers that never seems able to shake off its boundless kinetic energy or sense of unease until the album comes sputtering to is exhausted end.    

Laura Marling - Once I Was An Eagle
It's almost bewildering how British folk siren Laura Marling manages to stay so incredibly consistent release after release. Her latest effort Once I Was An Eagle is both a more ambitious and more intimate spin on Marling's distinctive brand of narrative driven folk rambles. While just the first four suite of songs is enough to nominate it for absolutely everyone's surefire favorite, through stripping down Marling and collaborator Ethan Johns get downright creative with the accompaniment. As if her normal way, Marling's songs are both frustrating mysterious and boldly telling at the same time. As the line are further blended between fiction and fact, Marling stays true to a couple of her pre-established fascinations - water, scorned women, and all-consuming passion. In a weird way, it's by noticeably shifting the focus away from her to the super and preternatural that makes Marling's songwriting all the more curious. Despite the unecessary speculation of when/where Marling is talking about her experiences directly or in elaborate metaphor, Marling's songs maintain their simple poetry that remain as relatable as ever.

Mutual Benefit - Love's Crushing Diamond
There is a certain amount of balance and finesse that must be applied to musical catharsis. Too much wallowing and a whole album can feel cloying and claustrophobic maybe even the wrong kind of depressing. Too light and the endeavor can seem a tad bit trite. Like the problems presented aren't worth relating too if the singer themself isn't too bothered by them. But thankfully Mutual Benefit has no such difficultly. Where Jordan Lee and his collaborators succeed is not only in providing a valid and viable alternative to your standard pop in its articulately formed textural layering but in the rather small scale epic presentation. Love's Crushing Diamond is a journey, both of Lee's own experiences and through it's own bit of forward momentum. It's an album that's astonishing relatable; courageously vulnerable without sounding like entries out of a sad boy's diary. There's something to be said for the musicianship of it all - cyclical in its scope and played with pitch-perfect tenderness and managing to captivate not only with Lee's stellar songwriting but with its effortless use of space. Love's Crushing Diamond is a truly special record that manages to reach the perfect balance of rugged individualism and an endearing sense of universality.




Honorable Mentions:
Brazos - Saltwater

Chris Holm - Kilos

Emily Reo - Olive Juice

Friend Roulette - I'm Sorry You Hit Your Head

Genders - Get Lost

Radiation City - Animals in the Median

San Fermin - San Fermin

Secret Mountains - Rainer

Wild Ones - Keep It Safe

Watch: Golden Suits BreakThru Radio Live Session

Earlier this year, Fred Nicolaus of Department of Eagles fame released his solo debut under the moniker Golden Suits. In addition to being the sum of his musical thoughts since Department of Eagles went on hiatus years ago, it also chronicles a rather hectic year in Nicolaus life as well as an obsession with John Cheever that Nicolaus hasn't been too shy about hiding.

This week - today in particular, Golden Suits starts a rather inclusive US tour and what better way to ring in the occasion than this lovely live video he did for BreakThru Radio. In it, he plays "Swimming in '99" which aptly chronicles the album's theme of love, loss, nostalgia that seamlessly weaves Cheever's stories with Nicolaus' own. Not to discredit the rest of Golden Suits but the album opening track is probably its very best. Stripped of all the album's lovely trimmings, Nicolaus still gives the track the performance it deserves armed solely with his trusty electric guitar. It's a perfect example of what you can expect from the Golden Suits live show and why you should hit up one of 12 tour dates.

Golden Suits - Golden Suits (2013)

During the press cycle for Daniel Rossen's Silent Hour/Golden Mile EP last year, Rossen let slip that he'd been helping former Department of Eagles band member Fred Nicolaus with his upcoming solo record. In an instant my hopes of an Department of Eagles reunion were reignited after years of lying mostly dormant. To what extent that aid was was left unclear and it wasn't until well over a year later that the first peak what Nicolaus had been brewing made it's way out in first single "Didn't I Warn You"

With Daniel Rossen functioning mostly as the megaphone of Department of Eagles, it's rather easy to relegate Fred Nicolaus to the role of background player but on his first solo venture, under the moniker Golden Suits, Nicolaus makes his own voice heard in a big way. While Rossen's vocals often accompany a sense of emotional urgency, Nicolaus' flexes his with practiced calm. Where Rossen's are swathed in intricately layered arrangements, Nicolaus' vocals roam wild and free. But Golden Suits is more than just your standard "he did this so I'll do that" kind of record - rather for the first time, we get to see what Fred Nicolaus can do when only relying on his former collaborators for finishing touches.

The result is an album that takes it's time - softly treading, lightly weaving, and effortlessly steered. Nicolaus' melodic power comes predominantly from his ever spotlighted vocals and his lyricism is spry and clever while given ample time to take root. Though almost every one of Nicolaus' Department of Eagles conspirators are present, Golden Suits is far from a Department of Eagles record and their influence is subtle if anything. The only audible instance of Daniel Rossen's vocals is in the harmonies of album closer "Dearly Beloved".

Golden Suits is clearly Nicolaus', recounting his own tales of woe and upheaval distilled into a sense of offbeat pop that allows them to be more than melancholic musings. They're not quite elevated to the level of humor but infused with just enough pep and light-heartedness to be utterly enjoyable, relatable, charming, and not as insufferable as an album of "Woe is me" songs has the potential to be.

While it may have been a bit of unintentional misdirection that lead me to Golden Suits, I'm certainly glad it did. Not only does the album spotlight Fred Nicolaus as a dear melodic yarn-spinner but paints a far clearer perspective of Nicolaus' strengths as musician in ways a late arrival to Department of Eagles might not really indicate. Fred Nicolaus might be the least famous of his Grizzly Bear cohorts but Golden Suits proves it's not for lack of talent and Nicolaus should be well on his way to selling out venues soon enough.

Watch: Golden Suits - "Swimming in '99" (Lyric Video)

A couple months ago former Department of Eagles member Fred Nicolaus' first bit of solo material was released. It was amazing. The intensity of Department of Eagles' greatest track was nowhere to be found in "Didn't I Warn You" instead filled with a pristine bit of layers and a svelte-ness that established instantaneous that this was material of Nicolaus' own creation; not merely Department of Eagles with a different name.



"Swimming in '99", our second peak into the upcoming solo full length Golden Suits, continues similarly in that vein. However, the smoothness is disrupted in favor of extensive use of percussion. If it wasn't explicitly stated to be a lyric video, Nicolaus' latest offering could pass for the actual music video for "Swimming in '99". All of the action takes place between two watches - one meant to represent the year's beginning and the year's end.

It's apt that Nicolaus chose watches as his sort of symbolic moniker considering the watchmaker-like precision and intricacy of his tracks thus far. A talent of melody creating some pretty arresting musical moments. If the lyric video featuring various New York landmarks and locations is just the appetizer, I can't wait for the main course.

Golden Suits self-titled debut album is out August 20th on YepRoc Records.

Listen: Golden Suits - "Didn't I Warn You"

If there's one thing you should know about me it's that I love Department of Eagles. More than Grizzly Bear, possibly more than Daniel Rossen's solo output though that's debatable. During the press cycle following last year's release of Rossen's solo EP Silent Hour/Golden Mile, Rossen mentioned that aside from working on the new Grizzly Bear record that he'd been helping out his old Department of Eagles partner Fred Nicolaus with his upcoming solo record. Fantastic news. It's no Department of Eagles reunion but damn if I wasn't intrigued, having just recently missed Nicolaus' possible live solo debut at Zebulon.

Now I don't have to wonder anymore. Today sees the official announcement of Nicolaus' solo effort, titled Golden Suits, and the subsequent first single from the upcoming self-titled record. Mostly relegated to general music-making and backing vocals in Department of Eagles, it's nice to hear Nicolaus' on his own. With unique vocals all his own, "Didn't I Warn You" is a complexly multi-layered track, taking its dear sweet time with its setup reveals Nicolaus as far less insistent, vocally at least, than Rossen. The track eases along at its own pace as Nicolaus' vocals pour over on top, syrupy smooth. There's a lot going on in the track but it manages to avoid sounding overtly busy or calling attention to exactly how many things Nicolaus can cram up in there.




Consider me righteously excited for Golden Suits, out August 20th.

(via Under the Radar)