Listen: Grandma Sparrow - "Existential Mothersnakes"

With the release of the debut record from Joe Westerlund's Grandma Sparrow cleanly on the horizon, those who haven't had the chance to see Grandma Sparrow's wildly brilliant and artfully comedic live show get a bit of the unique experience in bits and pieces. First was "This Is My Wheelhouse" and album ender "Farewell Bolero" and today, arguably one of my favorite tracks gets its time in the spotlight: "Existential Mothersnakes". There's little explanation for the track itself or how it fits into the story of Grandma Sparrow's Piddletractor but that has very little to do with the enjoyment of it.

In fact a lot of the lyrics even in the context of the live show are eyebrow-raising, head-stratchers and the delivery is subtler on the album edit but there's no denying it's an infectious pop jam nevertheless. Grandma Sparrow and his cohorts go full out - there's strings, brass, soulful backing vocals that run counter to Westerlund's understated delivery, it's got pretty much everything you could ask for as Westerlund challenges the listener's sense of ear-catching. It's the kind of song that gets stuck in your head even as you're not exactly sure what you're singing a long to. Essentially making it the adult equivalent of those catchy children's infotainment shows.



Grandma Sparrow's debut Grandma Sparrow & His Piddletractor Orchestra is out May 20th on Matthew E. White's Spacebomb Records. The album is now streaming in full over at Spin so go ahead and take a listen.

Kishi Bashi - Lighght (2014)

With the success of his debut album 151a firmly in the rear view, violinist/loop pedal wizard Kishi Bashi is stepping out with another collection of bliss-inducing psychedelic-hued orchestral pop songs in Lighght (pronounced just like 'light' and taking its name from minimalist poet Aram Saroyan's one word poem of the same name).

Though taking its structure more or less from 151a, Lighght is more than just more of the same and Kishi Bashi more than just a one-trick pony. Tracks like album opener "Debut - Impromptu" and Eastern flavored interlude "Impromptu No. 1", K. gets to flex his classical chops in a much more obvious way offering up compositions that though brief give a glimpse into Ishibashi as more than a consummate pop professional.

"Debut - Imprompu" rightfully sets the stage for Lighght's whimsical flight of fancy - a delightful bit of "Once Upon a Time..." before the catapulting flight of "Philosophize In It! Chemicalize With It!". Released earlier as a one-off single, the tune is remixed here adding more colorful deviations if that was at all possible.

Kishi Bashi has a talent for timbral play and musical world building that's both enviable and impressive. While layering is an integral part of Kishi Bashi's method, the fact that each part seems so beyond superfluous is a feat of real artistry. While expanding his own already characteristic sound, Kishi Bashi is able to imbue some of his evident influences namely those of jazz-fusion/prog rock variety to create absolute majestic moments ("Once Upon a Lucid Dream (in Afrikaans)").

On Lighght, Kishi Bashi's most playful moments are subtler than 151a, more lyrical centered than the more pop-centric clap-laden "Bright Whites" or "It Began With A Burst". On the whole, Lighght establishes Kishi Bashi's sense of restraint - the lyricism potent and poignant and on just the right side of seriousness. The grand music moments occasionally earthbound instead of the continuous rapid flight of its predecessor. That's not to say Kishi Bashi has clipped his wings but rather by spending more time grounded truly earns those moments when he allows the Earth to give way and the melodies to soar. By spending less time aloft, Kishi Bashi avoids a caricature-esque turn from seeking bigger and bigger music moments while adding additional layers of depth. It's exploration meets innovation, experimentation in brilliant technicolor shades that manages to be both forward-seeking and strangely centered; the very definitive property of Kishi Bashi's effusive charm.

Kishi Bashi's sophomore record Lighght is out May 13th on Joyful Noise Recordings. Pre-order available now. You can stream it via Bandcamp.

Pitstop: Floating Compass

A guaranteed way to stumble upon great new music has always been/forever will be to stick tight to your favorite bands/artists. That's how I discovered the indie orchestral pop collective Floating Compass. The brainchild of Tim Cronin, a member of the Camera Obscura live band and featured trumpeter on Freelance Whales Diluvia, Floating Compass' Tales of Yesteryear presents a distinctive brand of medieval flavored chamber pop that could very well inhabit the same realm as Joanna Newsom's Ys or Have One on Me.



Ironically their embrace of the past sets Floating Compass on an innovative level apart from the band's contemporaries. Using accordion and trumpet in a decidedly different way than their most well known advocate Beirut, Floating Compass' use of them seeks not to wisp you to the shores of  the Mediterranean but a far bolder task of throwing you back in time transporting you to crowded cobblestone streets a stone's throw from the crisp sea air and the nearest lighthouse.



With tracks like "Cathedral", "Buoys" and "Pendulum" that features recordings of the songs namesakes - church bells and the like, the thing that keeps Tales of Yesteryear and its various experimentations from being contrived or too on the nose is pure commitment. That and the songs actually being good. You can't argue a field recording's hokeyness when it inspires an enjoyable song, or a cohesive album. I mean you certainly can semantically but I know I sure won't.



You can stream Floating Compass' debut album Tales of Yesteryear now.

Young Dreams - Between Places (2013)

Bergen, Norway's second largest city, tends to be a particularly rainy place. So it makes a strange sort of sense that instead of writing gloomy, dismal ballads that instead the Norwegian sextet Young Dreams turns toward warmer climes crafting a sort of bright, dreamy, and most importantly sunny style of tropical infused pop rock.

While largely marketed as a orchestral pop band, the real surprise of Between Places is that there's much more at play in Young Dreams than that. Sure, there's some rather stellar string arrangements featured among many of its key songs (The dazzling "Fog of War" outro immediately springs to mind) but the majority of Young Dreams' members wield very rock-friendly instruments. There's no denying a symphonic influence, especially when listening to sprawling 10 minute opus "The Girl That Taught Me To Drink And Fight" and its delicate ebb and flow or the choir-like stylings of "Through the Turnstiles" but many of the tracks on the album take their marching orders not from the classical-leanings but instead a very evident desire for pop mastery. They're ear-catching, the melodies simple and clear; a sort of foot-tapping danceability scattered among most of them.  It's the best of both worlds, actually. The poppy lilt carrying the songs forward while the arrangements transform them into truly memorable musical moments. The sweeping string ornaments making Young Dreams' ability to pull at heartstrings even more successful, more pronounced. 

Between Places is escapism at it's finest. Not only channeling the Bergen six-piece's dreams of greener, less wet pastures but also suiting up their love songs in all sorts of fancy dressings. That's not to say all the songs rely as heavily on fantastical narratives like "Fog of War" and it's gladiator epic but they're far more than your typical sappy love songs. On Between Places, Young Dreams tap into exactly how it feels to be in the midst of youth; hopeful, passionate, vaguely nostalgic but always forward-looking. 

Young Dreams' incredible debut record Between Places is out now worldwide. You can stream it here as well as buy it from the wide majority of retailers. I highly recommend doing so. 

Leigh Jones - Worth Wild (2012)

When I was first introduced to Brooklyn singer/songwriter Leigh Jones in a joint concert with John Craigie and Olivia Quillio it was almost impossible not to compare the two females. Olivia Quillio singing raw, sultry songs of heartbreak and frustration, Leigh's songs hopeful, sweet, and caressing love ballads. Subconsciously I started pitting them against each other - a friendly competition of course - to see who would win out which now seems a little unfair. The two had more in common than I initially realized: unexpected powerhouse vocals explode effortless from their rather diminutive statures, real relatable lyrics based on their actual lives, and impressive amounts of musical talents that caresses each verse and musical phrase.

Leigh Jones' debut album Worth Wild is certainly a good one. Reminding me of Sylvie Lewis with its ability to convey intelligence while also remaining accessible and catchy featuring unexpected rhymes and a noticeable folk-pop flair. And Jones' changes gears rather impressively, there's exuberant romp "I Know You Know" and more ballads than you can shake a stick at ("Old Guitar", "Half Mast", "How is California?") there's also soulful highlight "Time Zone" which is probably the album's best track (but not my much). 

While Leigh Jones is rather obviously a girl in love, she does a good job of harnessing it in a way that makes you root for her and not just roll your eyes and hurry along. Long distance relationships are the recurring theme on Worth Wild but each time she visits it, Jones has something new to say about it. She celebrates the moments spent together rather than just prattling on about how terrible it is that they have to be apart. Overall, Worth Wild benefits from Jones' ability to handle her love affair with adult sensibility instead of just schoolgirl infatuation.  There's a balance of somber seriousness and tracks that are just plain fun just the thing you need to need to get through what could easily have turned into something unnecessary repetitive.

Give Leigh Jones' debut album Worth Wild a listen now:

Midtown Dickens - Home (2012)

There's something to be said for catching one of your favorite bands as many times as you are physically able during a single tour cycle. When Bowerbirds awoke from their two year hibernation with The Clearing and a cornucopia of dates that included not one but two New York City dates, I knew exactly what I was doing. In fact, with memories of my first ever Bowerbirds show clearly in my head I was absolutely pumped for the experience to see them twice. Why? Well, sure Bowerbirds are absolutely amazing live but there's also the fact that they have absolutely stellar taste in tourmates. And that's how I found North Carolina foursome Midtown Dickens.

What drew me to Midtown Dickens wasn't just the impressive caliber of their performance but also the fact that they appeared to be having so much damn fun doing what they do. It was infectious as I was beaming ear-to-ear from set-start to set-end. With so many groups nowadays seeking to reinvigorate folk with all sorts of dramatic innovative procedures (slapping on some electronic embellishments or fusing in elements of other genres), Midtown Dickens was a breath of fresh air. Pure and simple old-timey folk whose new life comes from the passion and talent of the ones making it. Sign me up. In moments on their latest album Home, I was gently reminded of fellow folk-inspired North Carolina bands Megafaun albeit without their penchant for electro-acoustic pairings and Mandolin Orange with far less fiddle and far more shuffle.

While Midtown Dickens makes use of those utterly glorious harmonies that draw people to folk music, there's more to them to that. There's a rather prevalent upright bass which is surprisingly charming to hear. It's presence is steady and persistent and adds just the right dark coloring even to Midtown Dickens brightest tracks. At their most upbeat, Midtown Dickens recalls a legitimate hoe-down - one that you don't have to feel ashamed about attending but can just enjoy. It's not hokey, it's just toe-tapping music bustling with excited energy. That same infectious energy that exudes from the foursome on stage. And when Midtown Dickens turn contemplative, you listen. Amid the cluster of twangy guitars and banjos, rapturous harmonies, and harmonica flourishes, Midtown Dickens are telling stories deserving of eager ears. While some are just downright fun ("This Is My Home", "Crocodile Mile") and others not-so-much ("Apple Tree", "Cross My Heart"), all of them are certainly worthwhile. Home is a solid collection of songs that play smoothly from beginning to end, aided no doubt by the endearing handing off of lead vocals by Cat Edgerton and Kym Register.

You can listen to Midtown Dickens' Home in full via their Bandcamp here.

Genders - EP (2012)

When the news broke that Portland quartet Youth were breaking up, my heart was broken. They had just released a pretty great EP and had already released one of my favorite songs ("Want You to Know") and suddenly that would be no more. However there was a bit of good news with the band, instead of one band Youth would be splitting into two: Maggie Morris, Stephen Leisy went on to form Genders drafting Katherine Paul and Matthew Hall  into the fold and Elec Morin would be setting out solo.

Considering the rather slow pacing of Youth's releases, I'm pretty impressed with the fact that Genders managed to put out an EP this year. The band formed in April and in this short 3 song EP have already managed to completely eclipse the potential and promise of their former band. Maggie's taken the helm and proves to be an excellent frontwoman. The EP may only be a small taste of the band at play (unless you're lucky enough to live on the northwest coast where you can catch the occasional live set) but it shows a versatility untapped in their previous incarnation. Sure there's the summer beach-rock that colored Youth's best songs and made June so fun but there's more than that at work here. From the very Givers-eque introduction of "Golden State" to the dark electro-pop lean of "Twin Peaks" (which sounds astonishingly similar to The Pass' "Without Warning")

The EP are three very different on Genders' psychedelic beachy pop rock an yet none of them seem at all out of place. Showing off varying skills without displacing any of the established others. Each are jams in their own way, from sort of back-beat heavy pop influence to straight-forward Bay area rock, each is handled in just the right way to make you love it. Who would've thought that a change in artistic direction was all Genders needed to kick it into high gear. While the lazy day summer rock of Youth was certainly pleasant and full of charm, the blistering tempi and tight-knit precision  are definite winners. On their EP, Genders show us all why they're worthy of sticking around. Capitalizing on their likes and what they learned in Youth and expanding it to reach a level of musicianship I was wholly unexpecting. Here's hoping there's more to come from Genders because anything else would be an utter crime.

Get a listen to their three-song EP and fall in love with Genders.

Now Streaming: J Fernandez - No Luck/Olympic Village

Remember J Fernandez: Thin Hymns guitarist/keyboardist Justin Fernandez solo bedroom project? Well, you should. If not, read all about it here. If you were hoping to listen to more of Fernandez' melodic brand of one-man soft rock, today's the day. Morning Ritual is putting out No Luck and Olympic Village, two cassette EP previously only available on limited edition cassettes out into the ether as a double EP.

Which is totally a good thing. Because frankly, the world needs a lot more J Fernandez. The occasional foray into dreamy soundscapes, random bursts of sunny jams, and just stellar musicianship are always pluses in my book and should definitely hover around musicsphere for a lot longer. Here's hoping J Fernandez is working on new tunes because though the double EP just came out, I'm already hooked and eager for more.

You can stream the No Luck/Olympic Village double EP right now via Morning Ritual Records:

Peter Broderick - These Walls Of Mine (2012)

Anyone who's followed the career of singer/songwriter/composer/violinist Peter Broderick will know that his is a rather unconventional one. At least as far as his varied output is concerned. His catalog consists of commissioned works for dance (Falling From Trees, Music for Congregation) and film (Music for Confluence, "Old Time"/"Solace in Gala"), proper vocal albums (Home, How They Are, http://www.itstartshear.com aka It Starts Hear), and compositions, recording projects, and experiments (Docile, Float, 4 Track Songs, Ten Duets) and Peter Broderick's latest, his second album released this year,  is another collection of experiments based upon vocals as opposed to Broderick's instrumental or recording ones.

These Walls of Mine manages to capture the soul of Broderick's appeal while also revealing a stunning new side to the songwriter/composer. An album of lyrical experimentation as well as a genre-amassing body of work, These Walls of Mine is the perfect compliment to It Starts Hear. The latter a summation and emotion-stirring representation of Broderick's past ("A Tribute To Our Letter Writing Days", "Blue", "Colin"),  These Walls Of Mine is an actual collection of songs more or less from that period. When you read that Peter Broderick is dabbling in gospel ("Proposed Solution To The Mystery Of The Soul"), soul ("I've Tried"), spoken word ("When I Blank I Blank", "These Walls Of Mine I") and even rap ("These Walls of Mine II"), it's totally reasonable to be skeptical. However when you realize the same aspect that draws you to Broderick's music is also the same that allows him to artfully dabble in these genres, your fears are assuaged or should be. Broderick is a musician of remarkable sincerity. Even at his most quirky, his most humorous, Broderick comes off as honest and genuine and charmingly so.

Despite the fact that These Walls of Mine's main focus is lyrical, the album is littered with its fair share of memorable, hummable melodies and endearing musical moments. A testament to Peter Broderick's skills as songwriter that even when it's not his priority that engaging musical moments will shine through.

Give a listen to Peter Broderick's These Walls of Mine out now on Erased Tapes.

Johan Brännström - New Set of Dreams EP (2012)

I may have failed to mention that each member of Swedish indie-pop trio Heart-Sick Groans is a talented musician in their own right. Earlier this year, we were introduced to Henric Wallmark's recent solo project Ghost Lake but Heart-Sick Groans' main vocalist/string player Johan Brännström has been churning out solo tunes for awhile now.

In fact, two days ago Brännström released his short 3 song New Set of Dreams EP which is filled with thoughtful, contemplative folksy songwriting. It's certainly a surprisingly but impressive change of pace from the infectious, sugary chamber pop stylings of the Heart-Sick Groans. And while not as the overtly catchy as his work with the trio, there's an undeniable replay quality to New Set of Dreams. It's stripped down and basic allowing Brännström's simple but poignant lyricism to stand on its own two feet and the result is a pretty fine release that you'll have a hard time putting down. And it'll certainly have me paying more attention to Heart-Sick Groans songs of which Johan Brännström is chief lyricist because underneath their poppy dressings, there must no doubt be something that hints to this level of skillful songwriting.

Enjoy Johan Brännström's New Set of Dreams EP and here's hoping there's more to come.

Watch: Buke & Gase - "Misshaping Introduction"

If you're at all familiar with Brooklyn experimental pop duo Buke & Gase than you know this: 1) They have a penchant for frakensteining together all of their gear from pre-existing gear/instruments. 2) Their music often follows suit, stitched together tenderly but with enough of the seams showing to make you wonder how in the world the two created such a beast. Well, Buke & Gase have taken their same concept of music-making into their own video production.

Their latest (and if I'm not mistaken debut) music video for "Misshaping Introduction", the lead track off their digital only Function Falls EP, takes footage of the duo and continuously splices and dices them before jimmying them together proudly. The result is a somewhat twitchy  and almost always out of focus video of the duo in their homes that strangely enough perfectly fits the start-stop machinations of "Misshaping Introduction".



You can now stream Buke & Gase's Function Falls EP over at Wired here.

Buke & Gase's Function Falls EP is out tomorrow September 11th via Brassland/their bandcamp.

Now Streaming: Delicate Steve - Positive Force

It's a strange wonder that I haven't listened to New Jersey rock quintet Delicate Steve before today, the band has played shows with some of my absolute favorite artists/bands like Maps & Atlases, Buke & Gase, & tUnE-yArDs to name but a few that I'm undoubtedly missing. If you've paid any attention to the amount of praise I've given Collections of Colonies of Bees or Phil Cook & His Feat then you probably know instrumental albums are a definite favorite of mine - a favorite where few brilliant, shining works lie. Well Delicate Steve is about to change all that.

Featuring bright, exuberant melodies and fanciful instrumental songcraft, Delicate Steve's Positive Force is poised to become the soundtrack to my summer and might very well be yours if you let it. Each track is a veritable pop gem which puts a decidedly interesting and unique spin on world-influenced music. There's no playing make believe like you sometimes get but the influence funnels into their music alongside a sort of middle-end rock aesthetic and the result is an album you'll pretty much have to pry out of my hands. It's everything I didn't know I was looking for and then some.

You can stream Delicate Steve's Positive Force on NPR now until it's July 10th release date.

Fiona Apple - The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do. (2012)

When Fiona Apple announced her return to mainstream performing and subsequent upcoming studio album release, the indie music blogosphere was infused with a rush of excitement. One I will admit I was swept up in myself before I realized I wasn’t really all that familiar with Apple’s works outside of “Criminal” and really had no intention to be. When a live recording of “Anything We Want” from Fiona Apple’s SXSW visit, I was intrigued but not impressed and as more and more people seemed to indicate that I should be anticipating Apple’s first album after 7 years, I found myself disenchanted more and more by the idea of it.  Enter Dave at Rawkblog who convinced me to actually listen to When The Pawn… to get an idea of Apple’s style and hopefully understand new single “Werewolf”, where Apple rattled out metaphor after metaphor, better. A feat that actually worked while also making me realize I had heard far more of Apple than I thought I did.

Album opener “Every Single Night” is exactly when I realized I was indeed hooked, as Fiona puts her knack for poetic lyricism at the absolute forefront along barebones accompaniment. It’s also a surprisingly perfect introduction to Apple as a songwriter for the uninitiated and/or unfamiliar – even virtually acapella there’s still hints of the jazzy lilt Fiona imbues in her music and her bold fearlessness as she suddenly swells to slightly subdued shouts before floating down light as a feather. 

“Daredevil” expounds on this, Fiona’s musical equivalent of a high wire act plodding along daringly slowly adding sultry temptation, an air of danger, and slightly more in terms of instrumentation – it’s the first true instance of Fiona’s steely-eyed flippant disregard for pretty singing as she howls and yelps and twists her voice with little regard for judgment but instead of emotional release.  

There’s also Apple’s clever little phrases that don’t draw much attention to themselves as Fiona coos “I don’t cry when I’m sad anymore” while double bass strokes envelope her and she in turn turns to tuneful shrieks in “Left Alone” or “All that love must’ve been lacking something if I got bored trying to figure you out” in the piano pop romp of the occasionally humorous “Periphery”.  

While each song works in its own individual way towards the inevitable tension release, The Idler Wheel... is not without obvious highlights – “Jonathan” with its peril-invoking piano lines and foreboding percussion Apple expunges yet another one of her demons in the form of her ex; and exceptional album closer “Hot Knife” as Fiona turns a nursery rhyme-esque simple lyric into a contrapuntal masterpiece – layering vocals on top of vocals turning her and her sister Maude’s vocals into a full on round with an remarkable pop twist punctuating her slightly veiled sex reference  with primal percussion ensuring that you’ll be humming it for days after.   

The Idler Wheel… is the kind of album you treasure once you get the full scope of it, an album sure to be as cathartic for the listener as it no doubt was for Fiona to write and create. It’s an album of unflattering self-awareness that deals with those swarms of negative emotions we rarely champion; breakups are the standard but on The Idler Wheel..., Fiona outlines her own neuroses and flaws and in turn helps you feel a bit more comfortable with your own. Apple’s lyricism seems almost overwhelming in its deluge of thoughts and ideas but the truly important points stand there like buoys in the ocean of Apple’s stream of consciousness writing-style.   

Fiona Apple's The Idler Wheel... is currently available for streaming as part of NPR's First Listen before it's June 19th shelf-date. Listen here. 

Hands - Massive Context EP (2012)

It was a case of continuous mistaken identity that brought Los Angeles band Hands to my attention. Jess over at exfm would ask me if was going to see Hands every time I would see her and was usually enroute to an ARMS show. Followed by Jess realizing her error and noting that another one of her friends over at Small Plates Records was really into them. After so many times of that happening it only made clear and logical sense to check them out.

Hands are a foursome from Los Angeles - not any of the other bands with an apparent claim to the name abroad. Their most recent EP, Massive Context, was released on Small Plates Records and simply put: it's a thing of beauty. Short but by no means stunted, Massive Context is a thoroughly engaging set of 6 songs that blossom and flourish with intricate instrumentals, catchy, memorable melodies, and Geoffrey Halliday's pleasant, skyward-reaching tenor. Though not rapid-fire paced, Hands plays with an undeniably vivacious energy as they weave immersive sonic tapestries with a forward-moving pop slant. All the while their tunes take a much appreciated time to establish themselves, they never rush out of the gate to capture your attention, instead they plod away at their own pace building intensity and explosive potential which often realizes itself through Halliday's expressive vocals.

The result is an absolute triumph of an EP, Massive Context is a record that can stand the test of nearly endless repeated play - each listen revealing some new piece of Hands' puzzled compositional stitchwork and inextinguishable talent and charm. A record you can't merely put on and forget about but catches your total attention and focus.

You can order Hands' Massive Context EP on CD and vinyl over at Small Plates Records, as well as purchase digitally from Amazon or iTunes. The album's also available for streaming on Soundcloud and Spotify.

Will Stratton - Post-Empire (2012)

It's a marvel that I was introduced to Will Stratton purely by chance; a stray tweet from Knox Road advertising the upcoming release of Post-Empire piqued my interest and directed me to Stratton's Bandcamp where a two song preview wait for me. Honestly enough, on my first couple listens to the full album upon its release date, the tracks that most jumped out at me were the first two - the tracks that had hooked me in the first place.

And yet as I listened to the album again and again, I couldn't deny my enjoyment of the album as a whole. "You Divers" functions as a rather exceptional prelude to the collection of plainsy, windswept tunes of Post-Empire and "When You Let Your Hair Down to Your Shoulder" grabbed me with its Marling-esque inflections but the whole album is a rich, nuanced work of talent. As evidenced by the aforementioned "You Divers" with its almost 3 minute instrumental introduction, Stratton displays a careful attention to detail and patient plotting that benefits the album greatly in the long run. Post-Empire becomes an album that sort of sneaks up on you after catching you in its web of brilliant finger-picked melodies and bewitching vocal harmonies. Slowly you become aware of the man's uncanny ability for heartwarming poetic lyricism and Stratton's own tenor pleasantly initiates you into his realm of delicate folk hymns.

Post-Empire is an album that doesn't rely on catchiness at least not outright. It's undeniably memorable but not from a poppy approach. No, instead Stratton draws you in with the abundance of talent both compositional and lyrical that radiates from each song. Post-Empire is an album that does what it wants in exactly the time it wants to do so and manages to take its place as one of the best folk albums of the year as a result. While the foursome of "At The Table of Styx", "If You Wait Long Enough", "The Relatively Fair" and album closer "Mercury Id Blues" form a rather impressive lead out, the album takes its time getting there with the cascading riffs of "Tell Me, Where Do I Begin?" and the most notably story-driven track on the album, "Colt New Marine". It's these middle tracks where Stratton's lyrical prowess becomes the most important, driving the songs more than the arrangements. Will Stratton should certainly be proud of such a majestically aurally pleasing endeavor and we should all be in awe.

Listen to Will Stratton's Post-Empire here or on Spotify:

Kishi Bashi - 151a (2012)

It may have been a streak of determined Sondre Lerche fandom that first brought me into contact with Kishi Bashi last year but the man quickly won me over on his own merits. An utterly awe-inspiring one man band structured live show and the brilliantly eclectic debut Room For Dream EP, it's no wonder I fell in love with the violinist extraordinaire and the release of his debut full length 151a was at the very top of my most anticipated list - an album I and many, many others made possible through funding on Kickstarter.  A cursory listen to Kishi Bashi's EP (for the tragically uninitiated) is all the answer you need for why so many were clamoring to make K.'s vision a reality.

Given the cinematic scope of 151a, it's no coincidence that many of Kishi Bashi's songs make references to movies (or a novel in the case of "Manchester"), from "Intro" which leads right into "Pathos, Pathos", the album has an unceasing flow, thoughtful care obviously given not only to each track but also to their place on the album as each track slides virtually seamlessly into the other and builds upon the mood of its predecessor. Plaintive, introspective "Manchester" becomes the carefree flutter of "Bright Whites" then endearingly joyful "It Began With A Burst" with its abundance of man-made percussion and overflow of positive feeling. Each tonal shift and evolution is pleasantly familiar without being at all expected; a testament to K.'s gradual, organic growth of ideas and deft handling of them. When the album hits sparse, ethereal "I Am the Antichrist To You" with its frolicsome pizzicato, it's an inspiring moment of complete euphoria. The overwhelmingly beautiful track spirals into lushness while retaining its barebones simplicity that almost guarantees its place as the most emotion-stirring track on the whole album.

151a is an album after my own heart - clearly composed with a stunning delicacy and breathtaking intricacy while also having emotive tone-shifts. On 151a, K. effortlessly juggles fun ear-catching pop with serious orchestral flair and the result is a smile-inducing and earnest work of art. A soaring, heartfelt masterpiece grounded by artistic intent and sincere ingenuity.

Kishi Bashi's 151a is out now on Joyful Recordings. Give the stellar album a listen:

Ghost Lake - Late Spring Morning Sunlight EP (2012)

A couple months ago I was introduced to Heart-Sick Groans' Henric Wallmark's solo project Ghost Lake with the title track from his debut EP "Late Spring Morning Sunlight". Well, actually I was also introduced to the EP proper and while I made sure to post the aforementioned title track, the rest of the EP kind of fell by the wayside. A huge mistake, I assure you. 

Ghost Lake's Late Spring Morning Sunlight EP is a series of introspections where each song effortless invokes sunlight softly streaming into your bedroom window. Opener and title-track being the most obvious in this as Wallmark croons about the way the early morning sun shines on his lovers skin. Rowdier track "Music" recalls fellow Swedish pop purveyors Suburban Kids With Biblical Names with it's chorus: "All I care about is music, it's the only thing that means anything to me" that has a very "Loop Duplicate My Heart"-esque rejection of others.  On Late Spring Spring Morning Sunlight, Wallmark plays with a delicacy that imbues each song with a quiet sincerity while also creating a gratifying work of musical composition. 

Even stripping away the overtly pop dressing of Heart-Sick Groans, Wallmark still manages to create a set of delightfully memorable musical moments. The result is something that while a bit rough around the edges sounds very much like a well-kept secret. But do yourself and him a favor and spread it as far and wide as you can. Late Spring Morning Sunlight is a secret that doesn't need keeping despite what its heartfelt intimacy might suggest.

Give Ghost Lake debut EP a listen and make sure to spread the good word:

You can download the EP for free at THEM Records here. 

 

Parlovr - Kook Soul (2012)

Since my discovery of them at We Listen For You's spectacular CMJ showcase to the release of their first new single, Parlovr have been very well within my sights. While their single "You Only Want It 'Cause You're Lonely" was certainly catchy enough to merit my paying attention, it was "Holding On To Something" which the band released as a sort of SXSW teaser that really won me over and had me practically salivating for their new album.

Kook Soul, the Montreal trio's sophomore record and their first under label contract with Dine Alone Records, is certainly not a departure from their rough-and-tumble ragged-edge rock pop but it's more than just the same old song and dance. A series of love songs, the real twist is that they're all filled with a sort of steely but not grim-faced violence that arises from keen self-awareness. No posturing or victim-playing here - the Quebec rabble-rousers offer up an astonishingly indelible set of songs that properly balances truth with pop. Opener "Do You Remember?" and "Just Marriage" have all the balls-to-the-wall energy of their self-titled debut but it's when the glorious strains of "Holding On To Something" where you truly become aware of the band's growth. Tight-knit pieces that feed off each other ravenously, "Holding On To Something" is about a perfect a pop song as the group's ever made: capturing their penchant for anthemic shout-vocals with intensely memorable melodies. "Now That You're Gone" continues with their delightful streak of dancey ear-catching pop tunes with just the barest hint of a retro-rock vibe giving the subtlest hint at a by-gone-era to keep things interesting.

"Married On A Sunday" is where the album trades in its momentum for a bit of a different track - starting with a bit of sing-talk before the track picks up and all the parts come properly together. It's a track you may not like on first or even second listen but which is poised to win you over on album listen after album listen. "You Only Want It 'Cause You're Lonely" also functions as a bit of a cool-down, slowly building up before it's big rock moments (which really aren't that big in comparison to the album's others).

"Bad Faith" functions as the album's sole ballad and to call it that is a bit of a misnomer perhaps - it's a slower more emotion-fueled song yes but it retains that trio's enthusiastic touch that keeps it from slowing things down too much.

Considering the amount of intense busy moments on Kook Soul, you have to regard the thing as a success. Is it perfect? No. But that's not really Parlovr's style anyway. Kook Soul is bold, brash, virtually unapologetic set of colorful pop songs. Some songs are better than others but none are completely unnecessary.  A charming album that gains whole new meaning when you realize it's essentially the thing that kept the band from breaking up. And considering it's dual composition - songwriters Alex Cooper and Louis Jackson essentially wrote their own songs by themselves and they remain relatively untouched by anyone but drummer Jeremy MacCuish- it's a wonder that the thing works as fluidly as it does. At no point can you tell "This is Alex's, now this is Louis'". Each of the songs all fit together in Parlovr's messy way. A solid follow up  all things considered. Here's hoping there will be more to come from the rather young Montreal threesome.

Get a taste of the album with arguable the best song on it, "Holding On To Something":



You can listen to Parlovr's Kook Soul on Spotify.

Lower Dens - Nootropics (2012)

Baltimore's Lower Dens have never really been the type of band that strives for accessibility at least judging from their 2010 debut Twin-Hand Movement. So when the first single "Brains" off the sophomore album Nootropics came out, with it's catchy drive and far less chilly composition, I was a bit taken aback though not offput. Would the band's sophomore album be a more pop-oriented affair? It was anyone's guess even when slowburning second single "Propagation" came out. But with the release of the album of Nootropics a week ago we finally got our answer.

Five minute album opener "Alphabet Song" makes it incredibly clear that pop isn't even an option - as it winds and bends along with Jana Hunter's unaffected vocals. When "Brains" starts with it's slightly more cohesive, upbeat jangle it seems to be the only move that makes sense - even as it spirals out into "Stem", an instrumental track that builds on the prevalent riff in "Brains".

With Nootropics, Lower Dens continue to march to the beat of their own drummer and wonderfully so - a logical continuation of Twin-Hand Movement in that each song takes its time. A collection of jams that could very well go on forever but that they band restrain into 5 minute chunks - more freedom than majority of tracks on Twin-Hand Movement were given. A yet there's more to it than that, on their second album there's far more emotional depth achieved by Jana Hunter in songs like "Lamb", "Candy" and "Nova Anthem". It's an album in every sense of the word, with each song tied to each other by more than just its place on the album - each track makes coherent sense. There's no throwaway track here, not even 12 minute album closer "In the End is the Beginning".

Nootropics is an album that makes it own rules and benefits greatly from it - a sonically similar set of tunes that undoubtedly just work together. All the songs aren't as catchy as "Brains" but they're all highly memorable (especially more than almost every song on their debut). There's no if/ands/or buts about it, they album just fits and you'll be hard-pressed not to listen to the whole thing again and again on repeat.

You can listen to Lower Dens' Nootropics on Spotify. Also get a taste with the video for second single "Propagation":

Watch: Hundred Waters - "Boreal"/"Caverns" live

Even after the release of their debut self-titled album, Gainesville, Florida quintet Hundred Waters is continuing to do some pretty great things. If you weren't able to catch them on their previous pre-SXSW tour, you may be in luck: the quintet is more or less doing a victory lap. But if you're anything like me and simply can't wait until the start of touring next month, you're also in luck as Hundred Waters recently recorded a set of live videos for Consequence of Sound's new series Off the Avenue. If you've never experienced the pure splendor that is a Hundred Waters live show, you might want to brace yourself as you take a seat. In fact even if you have, that advice probably applies to you as well. Don't say I didn't warn you.

Watch Hundred Waters play "Boreal" and "Caverns" for Off the Avenue:




Here's some of the fortunate cities about to receive some Hundred Waters shows
5/1 The Atlantic w/ Maximino & Ghost Fields- Gainesville, Florida
5/7 DC9 w/ Races - Washington, D.C.
5/8 Glasslands Gallery w/ North Highlands & Vensaire - Brooklyn, New York
5/9 Mercury Lounge w/ Races - Manhattan, New York
5/11 Schubas Tavern w/ Plants & Animals - Chicago. Illinois
5/14 Larimer Lounge w/ Young Pharaohs - Denver, Colorado
5/17 Bootler Theater - Los Angeles, California

And Hundred Waters is playing Hopscotch Music Festival in North Carolina in September. Awesome.

Don't forget you can stream Hundred Waters album here.