Listen/Watch: Typhoon - "Rorschach

photo by Jeremy Hernandez

With the release of a solo album What Will Destroy You from Typhoon frontman Kyle Morton in the autumn of 2016, I thought it might be some time until we saw a release from the band in earnest. Which is not to say that a four year gap between records isn't a sizable one - rather, the fact that many of its members leaned into the post-album hiatus after 2013's White Lighter and Morton, the band's chief songwriter released a full length solo debut, I figured it might be some time before Morton cobbled up as complete a set of songs as was necessary to constitute a full length Typhoon record. So imagine my surprise when not only was it announced that the band was working on/recording a follow up last year but that when unveiled it would turn out to be the band's most ambitious.

Offerings, the fourth full length record from Portland, Oregon collective Typhoon is a 14 song concept album split in four parts. The band announced the album with a stream of the album's first movement Floodplains and it showed off both the album's concept: a man losing his memory and thereby himself while also offering up the band's incredible sense of songcraft. Morton's songwriting is as visceral as ever and the band's arrangements as vital. It's been my go-to since its premiere and I was happy to discover that one of my favorite songs in the initial batch "Rorschach" would receive a music video.

While album opener "Wake" functions much less like "Prelude" from White Lighter and much more like "Artificial Light" or "Poor Bastard" from Morton's solo debut in terms of establishing the album's would-be core themes, "Rorschach" introduces the album's conflict in that of the unnamed man's actual response to his memory loss. "Wake" functions as a sort of Greek chorus like introduction before the man's entrance. "Rorschach" finds the man having a much more alarmed reaction to his memory loss as he copes with far less acceptance than his "Wake" counterpart. The reason for this may be time. Morton's songcraft is mostly narrative as he focuses on the disorienting sense that something is missing that haunts the album's protagonist. The song begins with an almost casual utterance of a theme that's plagued many a songwriter: "Eyes on the screen, we have all this information now but what does it mean?"

Bands like Radiohead and Arcade Fire have made whole albums devoted to how we as modern people deal with life in the digital age and how the excessive access to information might be dulling not only how we regard that information but our own humanity. Morton instead opts to focus on the latter: namely what's the use of limitless information if it can't help you preserve who you are? Morton leaves little clues here and there about why the protagonist ended up in this scenario but the why is also treated (as least in the case of "Rorschach") as largely irrelevant. Instead "Rorschach" focuses, like all compelling mysteries, on the "what now?" aspect.

The accompanying music video, directed by Neighborhood Films' Matthew Thomas Ross, leans further into that mystery and that particular sense of loss as the unnamed man (played by Morton) undergoes some sort of psychological evaluation/interrogation hybrid meant to either restore the lost memories or discern if they're really gone to begin with. Plagued by fragments of memories with no  of what they mean. The "Rorschach" video is essentially a mystery inside of a mystery as the viewer is put in the same position as the unnamed man of figuring out just what it all means. It's slickly and captivating shot and is one of those rare music videos that provide new added context to the song it's accompanying. Hardly surprising considering Typhoon and their longtime collaborator put considerable thought into the concepts but the "Rorschach" video levels up their partnership as the band zeroes in on ensuring the viewer/listener takes away a feeling.



Typhoon's fourth full length album Offerings is out now on Roll Call Records. You can order it now. The band are also on tour, you can check out tour dates here.

Watch: Matthew Thomas Ross & Kyle Morton - Book of Matches

While Portland folk pop collective Typhoon have more or less been on a hiatus since wrapping up their final White Lighter support tour in 2014. Of course, while the band takes the time to live their life and sow their wild oats, there's been the odd happening here and there: namely Typhoon's 10th Anniversary show, and frontman Kyle Morton playing the occasional show or embarking on various projects like teaming up with for a night of music accompaniment for poet Zachary Schomburg and flying to Iceland for Iceland Airwaves and playing a special set for Sofar Sounds. One such project saw Morton and Matthew Thomas Ross of Neighborhood Films collaborating on a short film called Book of Matches that the duo unveiled back in November of. Originally conceived as a sort of back and forth with Matthew Thomas Ross filming short minute long videos and sending them to Morton to soundtrack, these videos grew into a short film - a series of vignette linked by the beginning concept: "Upon my deathbed the spirit presents me with ten matchsticks. Each match, I am told, will recall a single moment of my life. Watch carefully, she tells me, and strikes the first".

For fans of Typhoon, such a concept isn't too far removed from Morton's usual songwriting subjects: the celebration of life lived and the acceptance of one's mortality but it's also new ground for Typhoon whose life-affirming brand of poignant pop music has largely been used to soundtrack things already made; not quite as collaborative as Morton's work with Matthew Thomas Ross here. The result is a work of beauty both in the presented visuals and in Morton's emotive offerings.



While the work was premiered back in November, the release of the project on one-side 12" limited edition vinyl with a digital download of the short film via Bughunt is as wonderful reason as ever to revisit the work, especially as the band is still in the nascent stages of songwriting for the next record.

You can order Book of Matches now.

All Around Sound is Turning Four - Day 1 Bonus Mix: Devin Gallagher (Typhoon/Ghosties)

My friendship with Typhoon percussionist Devin Gallagher is one that would've been entirely impossible without the wonders of the internet. After Sam of MiddleClassWhiteNoise turned me on to Typhoon, I made it a point to interact with them on Twitter as I do for most bands I like with interesting things to say. Devin headed the Typhoon Twitter and we found ourselves in various discussions on music theory, minimalism, and exchanging music recommendations born from those discussions. Seeing Typhoon live because less of a singular mission of seeing a band I really dug but also of establishing an in person relationship with a person whose web presence I enjoyed. A very 21st century friendship to be sure.

Devin's contribution:

John Cage liked to listen to traffic outside his window which I think make me think about playing two records at the same time. I like the pops and skips and you can hear the dust catching on the needle. This mix includes music by Karlheinz Stockhausen, Jackie-O Motherfucker, Sonic Youth, and Philip Glass, although some of it has been altered.

Devin (Typhoon/Ghosties)'s Blog Birthday Mix by Allaroundsoundblog on Mixcloud

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

Listen: Typhoon - "Young Fathers"

Oregon's Typhoon will always be a folk band. It's a fact that will always and should always be true and yet that doesn't mean that they should allow themselves into being forced into a box of pretty folk music. "Young Fathers" continues to subtly defy expectations of Typhoon's trademark sound - introducing a sort of start-stop rock purrs alongside it's usual life-affirming lyricism and layers of pristinely crafted instrumentals.

"Young Fathers" makes an artform out of a non-cohesive songwriting drawing more attention to it because of its occasional lurches forward, in it's baton-passed vocals, it's rapid swelling intensity, It employs new methods without completely disconnecting from the Typhoon fans have grown to love. A delightful blend of old and new and another dazzling gem from their upcoming White Lighter.    



Typhoon's upcoming full length White Lighter is out August 20th on Roll Cat Records but you can preorder the album now and help the band purchase a van for their upcoming fall tour via their Kickstarter.

Watch: Typhoon - "Dreams of Cannibalism"

Portland folk collective Typhoon's video for their recently released 2nd single "Dreams of Cannibalism" from their upcoming album White Lighter takes the tracks opening line "Unhand me, I am not a criminal" and runs with it. Kyle Morton plays a prisoner and former leader of a group of intelligent free-thinkers that consist of Typhoon band members.

After establishing Morton's character preaching to the enchanted listeners, the video quickly cuts to Morton captured, bound, and with a hood over his head. After that, the video kind of gets a little liberal with its time-frame. Bits and pieces of the story are revealed amidst more development as you discover Morton was captured at that very rallying meeting. After his initial capture he manages to escape but his disappearance isn't unnoticed and his pursuers are hot on his heels. The video is a rather short but ongoing game of cat and mouse between Typhoon's member and their persecutors who while played by children are rendered a bit more terrifying but their weapon-brandishing and quick use of violence. If I was Typhoon, I'd be running away from those kids too. The video eventually leads towards a dramatic conclusion which I won't spoil because it's actually an brilliantly unexpected twist.



I may have been a little suspicious by the initial literal handling of the track's lyrics but there was no need. I forgot just who I was dealing with here. Typhoon couldn't do a horrible thing if they tried. Which really just makes the wait for White Lighter even more painful because you just know it's going to be incredible.

Listen: Typhoon - "Dreams of Cannibalism"

It sure has been awhile since we've heard from Portland folk outfit Typhoon! Since dropping the first single for the upcoming album White Lighter way back in October, the twelvesome have remained pretty quiet. That's all over now, hopefully, as their brand new single "Dreams of Cannibalism" comes with the much anticipated album release announcement.

Whereas "Common Sentiments" sort of hinted at more of the same wholesome Typhoon goodness, "Dreams of Cannibalism" quickly debunks that assumption. Featuring The Decemberists' Chris Funk on lap steel, "Dreams of Cannibalism" is far more than your standard Typhoon track. The minimal use of its plentiful members and emotional life-affirming lyrics aside, "Dreams of Cannibalism" is a equal parts a step into previously untread territory from the band as the rather darker-tinged track consistently changes form. Leftovers from Typhoon past are here to stay however, there's the rather hopeful gleam that manages to slip out regardless of how lyrically murky the the track gets as well as the buoyant brass that's virtually a staple of any truly great Typhoon song. "Dreams of Cannibalism" essentially sets up White Lighter as album sure to full of surprises.



Typhoon's much-awaited upcoming full length album White Lighter will be out August 20th on Roll Call Records.

All Around Sound's Most Anticipated Albums of 2013 Playlist

It's a whole new year which means a whole new release calendar to look forward to! A handful of bands have recently started unearthing album details and waking up each day to a new announcement is the bee's knees. It's still rather early in the year meaning more are sure to roll in as well as more details and previews but until then these are the releases I'm most juiced for based not on mere speculation but an announcement of some kind. Because if it was based on who I thought was releasing an album this year, this playlist would be hours long.

The Acorn 
This year will see the end of Canadian band The Acorn's hibernation. Brought to my attention a mere couple months ago by my friend Corey it was the perfect time to get into them it seems. Without having to wait the three years since the release of No Ghost while also having enough time to explore their discography, I'm excited at what the new album Vieux Loup will sound like. No release date at present but a working title is a step in the right direction. Here's hoping more details are on the horizon.


ARMS
If you've been to any of their shows, this won't come as particularly shocking news to you but if you haven't, you might want to brace yourself. Maybe take a seat. After 2011's incredible underrated and criminally ignored sophomore record Summer Skills, ARMS are releasing an EP. When? The verdict is soon and for all intents and purposes it could drop any day now but a release is nigh. Any live show attendees might have heard a track or two or three or four from the upcoming five-song EP and well, I'm be straight with you: They're pretty damn great. Capturing the dramatic literary lyricism that drew me to them to the first place and pairing it with some absolutely astounding musical moment of the powerpop persuasion, I couldn't speak more highly of the forthcoming EP if I tried. And I haven't even heard it yet. But based off the 3 or 4 songs I've been lucky enough to hear, I'm willing to stake my reputation of it being one of the best releases slated for release this year. Get ready because you might never love another band more ever again. Until we can hear anything from it, here's the last song ARMS dropped - a self-remix of the title track from their sophomore record Summer Skills:



Brazos
One of my favorite new music discoveries last year was Texan turned native New Yorker Brazos aka singer/songwriter Martin Crane. His lyrics were poetic, his music full, ear-catching, and downright rocking. The strength of the introductory concert was enough to have me kicking myself for not having discovered Crane and his band all that much sooner. And yet with the release of his sophomore follow up to 2009's Phosphorescent Blues on the horizon for this year, maybe it's a good thing I didn't? I couldn't imagine being a long time fan that long having to wait nearly 4 years for new music. For those holding out that long, you have my most heartfelt sympathies. According to all the rave reviews I heard from those lucky enough to have it in their ears, the new record should be well worth the wait and makes me all that more anxious to get it in my own.

The Cave Singers 
When I say that Seattle's folk rock trio The Cave Singers were one of the best opening bands I have ever seen, I hope you don't immediately accuse me of hyperbole. Opening for Fleet Foxes back in 2011, they were a very special kind of opening band. I had heard whispers of their existence before then sure but nothing cemented my interest in them as much as seeing them rock out live. To say that I've been biding my time until they saw fit to return isn't an exaggeration. I have been and I assume when they return their set will be just as fun if not more so than what I experienced. Maybe then I can right the wrongs of a whole sold out seated venue full of people refusing to get up and dance to "Black Leaf" when asked. Maybe.


Friend Roulette 
They may have retired one of my favorite songs in their catalog indefinitely (I'm talking about the Friend Roulette EP's "Sailing Song" by the way) but the songs they've replaced it with are too incredible for me to get sore. The quirky Brooklyn chamber pop sextet has talent bubbling out it's pores and each song they write is pretty darn original and that's cause for excitement. This year, their debut full length I'm Sorry You Hit Your Head should get out of development hell and then the band can get all the praise and accolades they deserve. Seriously. For all the scores of Brooklyn bands there's few with as much originality and vision and passion as Friend Roulette. From Casablanca recalling "Or Berlin" to R&B-esque "Lie", Friend Roulette seem willing to try anything and that versatility and openness is sure to benefit them in the long run.

Guards 
In case you couldn't tell due to my incessant posting about them but I really like Guards. They take what so many bands are trying to do in the nostalgia-fueled rock vein and do so in a way that leaves very little yo be desired. It's almost impossible to explain what makes Guards work so well. Each tune we see from their upcoming debut In Guards We Trust just establishes what we already knew and why we so desperately wanted an album from the New York based trio: they're a damn good band. They manage to be both pleasant and intricate and jammy and simple without falling prey to any of the negative tendencies those involving while giving listeners and fans what they want while not being predictable about it. Guards are kind of an enigma, really but they're a rather friendly, pop song crafting one and that works just fine.

Little Tybee 

It was supposed to come out last year but due to a series of remarkably unfortunate events and the band deciding to take some extra time to make sure it was really offering up gold star material 2013 is the year of Little Tybee's For Distant Viewing. Rather nervous when they announced the album's release right after Humorous to Bees came out in 2011, I'm a little glad they took time to prioritize a stellar release over just another release in general. Especially considering the break between albums is crucial for not burning yoursef out. The few tracks we've been treated to are certainly strong enough but that extra bit of care will undoubtedly result in a far more album than anyone could possibly imagine. I'm rightfully pumped as should you be.
Little Tybee - Mind Grenade from LaundroMatinee on Vimeo.

Local Natives
I didn't really realize how much I missed Local Natives until the emerged triumphant from their latest bout of album recording. I've been a bit careless with my love for Local Natives, I'll confess. Never pouncing on opportunities to see them when I should and as the band seems poised to rocket up to bigger and bigger things, I might've missed my chance. At least without having to hardcore duke it out for my place in the Local Natives lovefest that's sure to follow after the release of their sophomore record Hummingbird. Why? After a remarkable debut, their next offering seems to be (as far as the two singles we've heard thus far will attest to) far better. Which is saying something. It's an album that's on everyone's must-have list and for good reason.


Pattern is Movement 
I'm rather late to Pattern is Movement party but better than never I say. Thanks to a sound guy at Cameo Gallery I heard and fell in love with the incredible All Together and so the news that Pattern is Movement are about to put out a new album this year is simply the best new. No idea when it'll be other than soon or what it'll be because a band like Pattern is Movement is rarely to do the same thing twice, I'm full of excitement just thinking about all the things that could be. Until details emerge this is one thing you can do to find out what you're in for: go see Pattern is Movement live. They're playing a handful of shows and have promised to play some new songs then.


Secret Mountains
A couple years of plying their trade, two EPs and one cassette of new, original material later, Baltimore psychedelic rock outfit Secret Mountains are just about ready to put their debut full length out into the world. It should be cause for excitement. Though a pretty great band from the get-go, Rainer sees Secret Mountains truly coming into their own - exploring emotional depths not yet plumped, tightening up their band sound, and making their jams that much more undeniable. If there's any justice in the world, 2013 will be a big year for Secret Mountains. The progress and sheer strength of their debut makes anything else absolutely unfair. Rainer will be out February 26th on Friends Records.


Typhoon 
After what seemed like a whole year of talking it up, it's finally 2013 and Typhoon's follow up to Hunger and Thirst and A New Kind of House EP is so close you can almost hear it. Actually a couple months ago, the Portland folk orchestra gave us a taste of what to expect from White Lighter with single "Common Sentiments" and while no details have really emerged since then, it's really only a matter of time. And then the massive sensemble will tour and all will be as it should until they disappear to record a new album. Luckily we have some time with them before that's even an option.

The Voluntary Butler Scheme
The music of English multi-instrumentalist Rob Jones is a bit of conundrum. Reading about it or even seeing it, it's a process that's shocking creative and far more complex than it's sound will have you believe. Jones crafts music very much like those of the most radical experimentalists - relying far more heavily on the precise combination of sounds and a deft hand at detail than what you'd think necessary and yet that's all part of the appeal. For the complexity and innovative forethought Jones' process possess, the sound is clear, simple, and most importantly, enjoyable. It's a sound steeped in those of old despite Jones' very current approach. The third album from The Voluntary Butler Scheme A Million Ways to Make Gold seems (at least from its first single) to be a return to form from the futuristic leaning The Grandad Galaxy but rather than be some sort of backpedal just highlights Jones' ability to create smooth, svelte pop from an arduously complex process.


Wildlife 

It's the moment I've been waiting for ever since the Toronto rockers released their debut album Strike Hard, Young Diamond. Wildlife have been hard at work on their sophomore record spiriting away to a cabin to work on songs before splitting their time between Brooklyn and Connecticut to record the thing. Meanwhile they've been keeping us informed on all the update taking wacky pictures, writing blogs, and giving hints at what to come without actually giving us anything substantial to go off of. Not yet anyway. But yesterday  the Canadian quintet revealed the title and cover art for their upcoming record ...On The Heart and I am pumped. The album will be out in the world February 26th and words don't exist to describe my excitement.


Young Dreams
After three absolutely incredible singles, the debut full length Norwegian orchestral pop collective Young Dreams is almost within reach. We've heard the grandiose gladiator-themed first single "Fog of War" and we can probably something equally as majestic, as musical, as excellent of Between Places. What's more the good news is their new album might actually bring the band stateside and that's the only thing I want right now. Between Places will be out March 5th in the states on Modular Recordings.


Young Man 
I know what you're thinking: didn't Young Man just release a new album a couple months ago? Yes, yes they did. And piggybacking an album release right on the heels of an album release is normally very very risky for fear of the songs not being as developed as they should be but if there's anyone that could put out teo amazing albums close together it's most likely Colin Caulfield. He's got such a thoughtful way with words and songwriting that you just know he took time to let the songs gestate naturally. I have complete and utter faith in Young Man that their new record Beyond Was All Around Me out April 9th is going to be super. No word yet on what it'll actually sound like but any news is good news in this case. Due to the lack of a single, I'll just post a track from Young Man's brilliant Vol. 1.

Listen: Typhoon - "Common Sentiments"

There a few things in life as exciting as new Typhoon and that's exactly what we have to look forward today. After a couple months of hearing about progress on the new album (on a farm, no less), we're finally getting a peak at the thing.

The new track "Common Sentiments", from their upcoming album White Lighter out next year, premiered today over at MTVHive and will enjoy a limited edition vinyl run and features the same absolutely engrossing style of orchestra folk pop that the Portland outfit are known for. And yet, excitingly enough, it's not just a rehashing of what the band do oh so well. There's new ideas at work here: From Kyle Morton's solo a cappella opening to the grooving, sauntering start-stop arrangements.

It's almost impossible to fathom but Typhoon are getting better with time and White Lighter is already in the running for one of my most anticipated albums of 2013 based on this first single alone. And it's not hard to see why, "Common Sentiments" is a real scorcher, after my own heart with each musical phrase and ornament.  

There's just no stopping Portland's folk orchestra and thank heavens for that because I wouldn't want it any other way. Typhoon's upcoming album White Lighter will be out next year at a yet undisclosed release date.

Wild Ones - "It's Real"

Remember Wild Ones? Sure you do. The spunky Portland indie-pop quintet just finished a west coast tour with Surfer Blood and have toured with hometown buddies Youth and Typhoon as part of their appropriately named BFF tour. Well the fivesome are prepping their full length debut and if new track "It's Real" is anything to go off of, it's going to an assortment of summery jams - my favorite kind.

Typhoon - "Never Be Your Lover" live video

Earlier this year, Typhoon completed their first ever US tour and I missed it. All of it. Or less dramatically, I missed when they came to New York. Well if you're anything like me and are regretting your poor life decision to not see them in concert, you're in luck. Typhoon has just put out the first peak at a full concert recording going up sometime hopefully soon. What's extra awesome about this video is that it's a brand spanking new Typhoon song that has yet to be released (but probably played a bunch on that tour). Check out the new song "Never Be Your Lover" and subsequent jam session:

Typhoon - Never Be Your Lover / Jam (live) from Matthew Ross on Vimeo.

Pitstop: Wild Ones

One of the good things about following a good band is that you're introduced to a bunch of other good bands by proxy. Just like I found Youth through Portland folk outfit Typhoon, I was able to discover synth-pop quintet Wild Ones through the promotion of Typhoon's BFF Fall Tour.

Formed in 2009 as a duo, Danielle Sullivan and Thomas Himes assembled a cast of talented musicians to round out their band and bring their bedroom recordings to life. As a result, the band has released their You're A Winner EP earlier this year filled with vibrant, upbeat synth-pop with moony but infectious toe-tapping melodies. Thankfully there's more to come as the band work on a full length album for release next year.

Get a taste of Wild Ones with the EP tracks as well as new track "Need It All" on their Souncloud here.
Need It All by WILD_ONES

Pitstop: Little Tybee

What could be gleaned from my love of Typhoon, Oryx and Crake, and Lost in the Trees (among numerous others) is that there's a very special place in my heart for the folk orchestra. There's a certain untouched majesty and epic grandeur that comes with having a large cast of musicians all working to create music that is not only performed well and arranged spectacularly but also wonderfully accessible without losing any of that masterful touch. Atlanta, Georgia's Little Tybee is another one these bands.

What separates Little Tybee and it's fluctuating group of members apart from the multitude of other bands that are essentially doing the same thing is that they aren't. Their phrases flexible, the arrangements handled with marked equality; and Brock Scott's vocals, with its folksy lilt, form the basis for what is Little Tybee. But their spark of individuality is gained from how they handle their songwriting. The Nirvana Kelly's violin isn't just relegated to delicate flourishes but soulfully accompanies Scott and his acoustic guitar. The bass and drums much more than mere beat keepers, getting their own opportunities to shine. Each member of the band gets a important and noticeable place to show their talent, but it's handed with such subtlety and modesty, that you can't help but smile.

Get to know Little Tybee with the live video for "History":

Typhoon - A New Kind of House EP (2011)

I was recently introduced to Portland based indie legion Typhoon but only used a video posted on NPR of a two song SXSW set and their album Hunger and Thirst to form an opinion of them. Lo and behold they recently released a 5 song EP early last month by the name of A New Kind of House. The EP is a fully formed multi-movement work meant as a continuation of Hunger and Thirst.

A noticeable difference between the EP and it's predecessor is an evolution in style. The use of Typhoon's diverse instrumentation is far more restrained and the folk element that album listeners only glimpsed at previously are more broadly explored in the EP. But the rock influence is not all gone as can be seen in "Claws Pt. 1"

With A New Kind of House, Typhoon establish themselves capable of great things. In a time where the indie orchestra shtick is becoming more common and a bit played out, they prove that all hope is not lost. They manage to distill Hunger and Thirst down to its great moments and not merely replicate them but use them to inform wholly new ones proving themselves as real musicians capable of standing the test of time.

You can give the EP a listen on Typhoon's Bandcamp.

Pitstop: Typhoon

Typhoon was brought to my attention by a dual effort of Sam at Middle Class White Noise and NPR. Turns out the Portland based indie orchestra was one of the overwhelming number of bands at SXSW and NPR managed to get them to play a Tiny Desk Concert (sans desk) at SXSW. I won't lie, I have a fond weakness for bands with an almost absurd amount of members. That and chamber pop in any form and Typhoon just happens to fit both those category. But I knew I was hooked the magical moment everyone entered during their medley of "The Sickness unto Death" and "The Honest Truth". I'm not exactly sure how many members are in Typhoon as their numbers seem to change at the drop of a hat but there are however about seven core members of which Kyle Morton is the ringmaster. This gargantuan organism is utilized to remarkable effect with lovely vocal harmonies and surprising subtlety and precision despite their large numbers; No doubt the work of lots of practice and years of familiarity.



Typhoon currently have a studio album (Hunger and Thirst) available and released their new EP A New Kind of House. You can listen to these on their Bandcamp.