Collections of Colonies of Bees to release new album

Not too long ago I reviewed Wisconsin natives Collections of Colonies of Bees' latest release, 2008's Birds, and now after 3 long years and touring with Bon Iver's Justin Vernon as Volcano Choir, the band are releasing a band new album on Hometapes. GIVING, due out August 2nd, is sort of like it's predecessor in that it's composed of merely four tracks. Other than that, I have no idea what to expect other than guaranteed awesome. So sit tight until either they preview a track or release the whole album.

Cymbals Eat Guitars announce new album

After hinting at it for what seems like ages but might only really be a couple months, New York City band Cymbals Eat Guitars have announced the follow up to 2009's Why There Are Mountains. The new album, titled Lenses Alien, will be released September 13th in the US on Barsuk Records.

There's no tracklist yet but several new songs they premiered live are likely to be on Lenses Alien like "Plainclothes", "Definite Darkness", "Tunguska", and "Wavelengths". To celebrate, here's a video of Cymbals Eat Guitars playing "Plainclothes" live:

Beirut premieres new single "East Harlem"

When Beirut started announcing tour dates, I foolishly didn't put two and two together. Tour = New Songs = Possible new album. I just thought he was going on tour for the fun of it and because it had been awhile. And then his latest track "East Harlem" surfaced. Which I wouldn't have known about without the combined effort of ListenBeforeYouBuy and Sam at MiddleClassWhiteNoise.

The new track could only be described as everything fans could want and more. It's a nice summery track featuring those lovely horn phrases with a reliance on the piano and Zach Condon's buttery vocals and vague hints of something resembling an accordion or concertina. If it's any indicator of how good it is, I've already listened to the track about 5 times since my discovery of the track around 10 minutes ago.

Hear the new track here:
Beirut - East Harlem by Revolver USA

Oryx and Crake debut two new videos

So this weekend while others were out doing their typical weekend activities, Atlanta band Oryx and Crake were playing a house party and debuting their first two music videos ever. But like all good things, you can now experience them even though you weren't there thanks to the power of the internet.

"Open Your Eyes" by Oryx and Crake from Oryx and Crake on Vimeo.

The video for "Open Your Eyes" is a series of webcam videos edited together by Aaron Byrd featuring a multitude of Atlantans on a typical day. Whether that be distraught or bored at work, or sitting alone singing some Oryx and Crake, it's all captured and compiled for your viewing pleasure. Considering that "Open Your Eyes" is one of the more upbeat tracks on their debut, it sort of makes sense that there's some moments of actual joy shown. If you look closely you'll see some of the bandmembers taking part too.

Whereas the video for "Open Your Eyes" focuses on people, the video for "Unbound", directed by Max Blau, features Atlanta's street art. From the lowly street sign to grand displays of graffiti mastery, every type of street art seems to make an appearance accompanied by another upbeat track.

Oryx and Crake - "Unbound" (Music Video) from Max Blau on Vimeo.

So while you might not have been at the unveiling or subsequent house party/live show, you can now enjoy the band's artistic efforts. And considering they choose some of their less melancholic tunes, you can watch them regardless of your mood.

Live!: Kishi Bashi, Nightlands, & Sondre Lerche at the Bowery Ballroom

Unlike my marathon listening session of Sondre Lerche’s new album, one of the things I made sure I did was to deprive myself of the opportunity to listen to his opening bands before the concert. Something about wanting my initial reaction to happen then and there (or something weird like that) and for better or worse I’m glad I did.

K. Ishibashi (Or Kishi Bashi) took the stage and won me over in an instant. With his spirited virtuosic violin playing, easy going demeanor and personable stage presence, and overwhelming gratefulness it would’ve been hard not to. The second Kishi Bashi started singing random Japanese lyrics into his looping mic, was when I knew I was sold though. Despite a small misstep bringing one of his songs to a screeching halt, Kishi Bashi trucked on, treating listeners to a sexy pseudo rap song called “Just the Tip” that made the audience giggle with glee, and when he laughed into his final song of the set “Manchester” with its everything but the kitchen sink composition and lively multi-tasking, it was clear that Kishi Bashi had made fans out of everyone. A feat he totally deserved.

The second opener, Nightlands, featuring Dave Hartley of Sondre Lerche’s backing band was a little different. Somehow mashing up folk rock, dance-pop, and heavy amounts of electronica, Nightlands was an experience to be had. Using harmonizer pedals in addition to its four part vocal section seemed a little like overkill. Actually from their use of four synthesizers, heavy distortion, and reverb, everything about their love of the loud, abrasive sounds and the robotically electronic seemed a little over done. But there was a define potential and talent in the band that was allowed to shine through underneath all the electronic haze and robotic vocals. If they stripped down a little, I’m sure they would’ve been more greatly appreciated.

When Sondre Lerche took the stage at 11 (to rambunctious applause, I might add), there was little to be said. Unlike his previous bands that had taken the time to introduce themselves and warm up the crowd, Lerche launched right into his first song “Ricochet” off the new self-titled album which lead right into an energy laden “Private Caller”. When Lerche did speak, it was always something charming or humorous and a little more than mere gratitude. After revealing that it had been almost 5 years since his last show at the Bowery, Lerche then set out to make it count playing a pretty even mixture of new and old and delighting a room full of spectators with flashy guitar pyrotechnics and witty onstage banter with comedic foil, drummer Dave Heilman.

After seeing Sondre Lerche for the first time last month in a small crowded bar and this time in a large sold out venue one thing remains the same: Sondre Lerche is a remarkable showman. Whereas his albums are a lot tamer, up on stage the man really let loose with balls-to-the-wall energy and a ferocity that belies Lerche’s charmingly pleasant demeanor. After such a charged performance, it was no surprise to anyone amid the thunderous nonstop applause that the man would be coming back to play an encore. The encore was a set of songs: somber ballad “Maybe You’re Gone”, a mammoth and intense “Dead Passengers” that clocked up somewhere around 10 minutes, and one of Sondre’s favorite audience participation songs “Modern Nature”. The show seemed over after that, but no one stopped cheering and so the man of the hour took to the stage again to play a very final “My Hands Are Shaking”.


Seeing Sondre Lerche live before, I shouldn’t have been surprised by Lerche’s onstage gait and yet, it’s something so completely inspired that I know even if I see him a hundred more times, I’ll still be surprised. And adding Kishi Bashi to his backing band was a great choice because like Lerche, K. really gets into what he’s playing and reacts with a sort of unbridled sincerity that has to be seen to be believed. A truly wonderful concert put on by a man who’s had about a decade of experience. If you want to have all your expectations shattered, your eardrums pleasantly rocked, and your heart triumphantly won, go see Sondre Lerche. He’s still on tour. You won’t regret it.

GIVERS - In Light (2011)

I shouldn't be surprised that I hadn't heard of Lousiana pop outfit GIVERS because, well, there's a lot of music out there. In fact I wouldn't have known about them at all if not for MiddleClassWhiteNoise so thanks are in order. Why? Because GIVERS' debut full length In Light is an exuberant pop tour de force; a sunny, casual, ear-catching endeavor worthy of millions of ears.

From opener "Up Up Up", which hits you with the sonic equivalent of a freight train, In Light is a nonstop thrill ride of vibrant, lush, unflinchingly brazen pop goodness. The brazenness is due mostly in part to the band's reliance on percussion than any hard-hitting emotive lyricism but that's hardly a problem. Especially when you're treated with such ferociously infectious optimism and unbridled joy as these talented Louisianans muster.

In Light comes out this upcoming Tuesday, June 4th on Glassnote Records but you can stream the album in it's entirety until it's release on NPR here.

Sondre Lerche - Sondre Lerche (2011)

I had the opportunity to hear Sondre Lerche's latest album, his self-titled sixth outing, early last month at his Union Pool listening party/live show and one of the things I realized was just how long his songs stuck with me. After just one listen, I had several of the melodies stuck in my head for at least a week. It was this staying power that made me incredibly eager to get my hands on the album as soon as I could.

An album 10 years in the making, Sondre Lerche utilizes past strengths like genre-defying versatility and honest sincerity while featuring Lerche's most innovative songwriting to date. One thing I learned during my listening to Heartbeat Radio is not to be fooled by Lerche's stylistic poppy dressings, if you do that you lose so much of what he's trying to say. On this outing, the tunes are not quite so upbeat, allowing themselves to convey their messages not just lyrically but also instrumentality. Duper Sessions era jazziness ("Never Mind the Typos") and splashes of Phantom Punch's hard rock edge ("Go Right Ahead", "Private Caller") are just a few of the tools Lerche uses, proving he doesn't have to throw out everything he's learned and experimented with in the pursuit of new songs. Sondre Lerche is also an album that's not afraid of being unpretty. Sure it's got a clean, polished feel and flawless string arrangements for the wide majority but there's also moments when it lets itself get a little dirty ("Never Mind The Typos", "Tied Up To The Tide").

Sondre Lerche is a pleasant surprise of an album. It both manages to completely redefine what you might expect from Lerche while also remaining true to Lerche's characteristic sound without seeming overdone or like you're listening to just another album on his back catalog. While its lyrics aren't as noticeably intrusive as Heartbeat Radio, they still manage to portray the truthfulness you've come to expect from Lerche. It's an album that's a surefire favorite.

Don't believe me? Watch the video to "Private Caller" and see.

Private Caller (official video) from Sondre Lerche on Vimeo.