Wednesday, April 22, 2009

Album Review: O+S - O+S

Originally published April 22, 2009 in Soundcheck Magazine.
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O+S
O+S
Saddle Creek


The self-titled debut album from O+S requires patience. It is not a quick and easy listen. The emotions are too thick for digesting in a hasty manner. The music is not ultra somber or serious, but listeners should prepare to spend time with the album while it grows and expands.

O+S is composed of longtime friends Orenda Fink (Azure Ray and Art in Manila) and Scalpelist (aka Cedric LeMoyne of Remy Zero), who both grew up in Birmingham, Ala. The project started with Fink’s musical artist residency at the Bemis Center for Contemporary Arts in Omaha, Neb. For the project, she traveled from Omaha to Alabama to Haiti, collecting field recordings with the hope of sewing them into loops. LeMoyne joined to help with instrumentation and electronic landscapes.

While the end result does not utilize the Haitian culture in a revolutionary way, it is nonetheless a beautiful collection of soft, sleepy melodies. The calm rhythms and heavy bass are perfect for solitary late nights of reflection. Fink’s voice is chilling and refreshing. The music is lovely in a very simple, antique way, but it has its wear and tear.

“New Life” and “Survive Love” move at such slow pace that it is almost frustrating. They sound similar to Azure Ray songs but lack the dynamics that made the latter so charming. There are soft, little details in the background of each song, but one would be hard-pressed to pinpoint the origin.

Haitian vocal rituals are awkwardly placed at the beginning of “Toreador” and “We Do What We Want To”. Without knowing the story behind the field recordings, they sound out of place. They are not used in an interesting way and do not mesh well with the fuzzy beats and Fink’s whispering vocals.

However, the field recordings are not noticeable on most other songs, and the album’s highlights are the songs rooted in simplicity. “The Fox” has a sweet, humble sound, only utilizing guitar and vocals. Delicate humming and harmonies surround a story about love gone astray. “Permanent Scar” has more layers, but is a stunning track with great movement, staggering guitar and bits of sharp electronic sounds.

The O+S debut is a long road with a few bumps, but rich factors indicate that the uncertainties will clear with time.

Tuesday, April 14, 2009

Album Review: Fol Chen - Part I: John Shade, Your Fortune's Made

Originally published April 14, 2009 in Soundcheck Magazine.
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Fol Chen
Part I: John Shade, Your Fortune's Made
Asthmatic Kitty


In the same manner as all the great superheroes who lead double lives, Fol Chen travels with a mysterious aura, being careful not to reveal too much about itself. Promotional photos show band members covering their identities with cardboard faces, and their biography only reveals that they are out to stop John Shade’s plague of mischief. Not much is known about Shade, but whoever he is, his sinister antics and dark, swift silhouette is felt running throughout Fol Chen’s anomalous, electro-pop debut, Part I: John Shade, Your Fortune’s Made.

Hailing from the Los Angeles district of Highland Park, Fol Chen comes off as a group of quiet intellectuals. Knowing that catching Shade will be difficult, the band equips the album with a wide range of tactics. Songs, such as, the opener “The Believers” and “The Longer U Wait” are full of eerie tension. Raspy female and male vocals sound aloof, but as the songs build up with ghostly horns and hammering percussion, it is obvious that the band members are plotting a grand move. They are the keepers of a dark secret that they only divulge with small hints.

The band sounds best with its uninhibited characteristics in songs such as “No Wedding Cake” and “The Idiot”. Clean vocals and bouncy synth create a lighthearted façade. On “Winter, That’s All”, the sound is a bit more industrial, but cascading drums, which are immensely engaging, provoke dancing and never lose grip of the listener’s attention. “Red Skies Over Garden City (The Balled of Donna Donna)” also is a bit more airy, but strings and whistling instruments in the background produce complicated layers, similar to the changing tempos of The Fiery Furnaces.

While the upbeat tracks are fun, there still is a strong sense of detachment from the rest of the world. However, the lyrics tend to be quite personal and create balance. Intimate thoughts and confessions are most notably shared on “Cable TV”: “I thought that I knew what love was / then I saw you dancing in your underwear, too / And I think of you / when I think of you baby / my heart just triples in size”.

Fol Chen creates the bizarre feeling of a blurred dream and sometimes feels a little too devious. If the band sticks with songs such as “Cable TV” and the other danceable tracks, it can remain interesting and clever without compromising its hero status in the battle against John Shade.

Album Review: Various Artists - Dark Was the Night

Originally published April 14, 2009 in Soundcheck Magazine.
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Various Artists
Dark Was the Night: Red Hot Compilation
4AD

The 20th installment in the compilation series by the Red Hot Organization tempts listeners to choose a favorite track early on, but with plentiful talent, each song after becomes a strong contender for the top spot.

With The National’s Aaron and Bryce Dessner as curators, Dark Was the Night brings together some of the most notable indie rock artists from the past decade to support Red Hot in raising awareness about AIDS prevention, which the organization has been doing for 20 years. Named after the song “Dark Was the Night” by blues artist Blind Willie Johnson, the compilation is inspired by traditional folk themes.

The dilemma of choosing a favorite track is most severe on the first disc of the two-disc compilation, also available as a triple vinyl set and digital download (iTunes offers an extra track from Beach House). Indie royalty, such as Feist, Arcade Fire and Spoon, span across the entire compilation, offering original compositions, covers, and compelling collaborations, but the stand-out tracks predominantly are bundled on the first disc.

From the euphoric opening by Dirty Projectors and David Byrne to Antony and Bryce Dessner’s simple cover of Bob Dylan’s “I Was Young When I Left Home”, the first disc displays indie rock’s delightful dynamics. Furthermore, Yeasayer’s passion and dreamy atmosphere on “Tightrope” encompasses the mix of landscapes.

However, between two collaborations, Feist is one of the more radiant stars of Dark Was the Night. She and Death Cab for Cutie’s Ben Gibbard team up for a beautiful cover of Vashti Bunyan’s “Train Song”. Gibbard’s reflective vocals and Feist’s higher-pitched voice fit together like puzzle pieces. On “Service Bell”, Feist’s voice is even more stunning, supported by Grizzly Bear’s delicate-but-vivid instrumentation.

Although the first disc is difficult to follow up, the second still is a worthwhile listen. My Morning Jacket’s “El Caporal” and a cover of Shuggie Otis’ “Inspiration Information”, performed by Sharon Jones & the Dap-Kings, throw diversity into the mix.

The horns on Jones’ cover are pure bliss, and her soulful voice is the compilation’s only source of funk. The 31 tracks show a lot of variety, but they are limited. With the exception of a few songs, the overall energy does not travel far from a tranquil state. A few roaring peaks would have been ideal, but considering the cause, that small shortcoming hardly is crucial.

Album Review: Origami Ghosts - Short Momentum

Originally published April 14, 2009 in Soundcheck Magazine.
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Origami Ghosts
Short Momentum
Hand to Media

John Paul Scesniak, founder of Seattle’s Origami Ghosts, did not learn to play the guitar until his late teens, but the quirky lyrics of the sophomore album, Short Momentum, make it seem as though musical ideas have been floating in his head since he was a kid.

Scesniak has a childlike imagination, which makes a wonderful partnership with the band’s wacky and colorful approach to pop music. His words could paint the pictures to a children’s book, while also provoking thought.

On “Rearranging Furniture” Scesniak sings, “If I was an iguana, you’d wish you could be a chameleon / You could hang out with all my pretty green friends / And then you’d know a lot about me”.

The nature metaphors also dominate on “Thai Frog”, “Trees they fall like spring does into summer when I’m in winter / I like the sound the trees make when they are first discovered”.

Scesniak bends his vocals to afflict different emotions, but instead of coming out obscure and pretentious, his voice and music create a warm and humble atmosphere. At times, the vocals sounds similar to Ben Bridwell of Band of Horses and Carissa’s Wierd, while at other times, he sounds like a male version of Kimya Dawson. Scesniak is not afraid of showing his curiosity and love for exploration, as displayed on “Story?”, “Where do thoughts go when you forget them?”, he asks.

Vivid lyrics make Origami Ghosts a contender for being labeled a straightforward pop band, but cello and fuzzy guitar add some edge. The cello sits around the edges and creates a tone similar to that of Cursive and Joan of Arc – although Origami Ghosts does not necessarily sound like either of those bands.

Likewise, if the band were stripped down to its bare bones, it would sound a lot like Death Cab for Cutie and The Shins, but the styling of Origami Ghosts is more lighthearted and zany.

Album Review: Iran - Dissolver

Originally published April 14, 2009 in Soundcheck Magazine.
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Iran
Dissolver
Narnack Records

On Dissolver, Iran peels the volatile exterior layers that were formed on its previous noise rock albums and starts to reveal a tender core. A longtime project of multi-instrumentalist Aaron Aites and TV on the Radio guitarist Kyp Malone, Iran sweeps through the fuzz and unveils its ability to write songs that are conventionally pleasant.

Music fans last heard from Iran in 2003 with The Moon Boys, which followed a self-titled debut in 2000. Both were full of buzzing, combusting, and crashing sounds that carried engaging melodies. Dissolver holds on to a bit of the noisy aesthetic, but it is not exactly a middle ground between the blatant experimentation and straightforward pop.

Produced by TV on the Radio’s David Sitek, Dissolver is not a bad progression to a cleaner sound, but the change might be too much too soon for some fans. “Digital Clock and Phone” is the only track that truly channels the sharp clamor of previous albums, but it sounds like an ordinary jam session, rather than a mind-bending track.

Instead of concentrating the noise rock on single tracks, Iran sprinkles it in the background of each song. On opener “I Can See the Future” and “Buddy”, the band gets close to a middle ground without sounding jarring. Distorted guitars add gritty sounds to otherwise clear songs, whereas, bluesy piano adds a soft touch to “Buddy”, which is driven by whirling guitars.

On “Airport ’79”, warped sounds take a back seat to the smooth melody and instead of dominating, they complement the vocals by swiftly traveling in the backdrop. However, on “Baby, Let’s Get High One Last Time Together”, screeching sounds in the background distract from the melody and sound disconnected.

While there are a few similarities to TV on the Radio, Dissolver shines when it pushes Aites’ vocals to the forefront. Previous albums made it hard for listeners to take notice of his pleasant voice, which seems to ooze out emotions with grace and ease. He rarely applies exertion, but when there is a spike, for example on “I Already Know You’re Wrong” and “Evil Summer”, it creates delightful dynamics.

Dissolver might not be the album for those set on getting a release that echoes The Moon Boys and Iran, but it seems as though Iran still has a few more layers to break through, and it will be fun to see what the band comes up with next.


Album Review: Yes Nice - Yes Nice

Originally published April 14, 2009 in Soundcheck Magazine.
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Yes Nice
Yes Nice

Self-released

On Yes Nice’s debut full-length album, the Canadian band is close to perfecting the art of the serenade. With warm melodies and lyrics for lovers on cloud nine, the self-titled album is an easy and fun listen for any occasion and mood.

The music and gentle vocals show the utmost sincerity with charming lyrics, such as those found on the opening track, “When I Saw the Sun Going Down”.

I believe in the words you sing”, affectionately says lead vocalist Nathaniel Wong.

Simple guitars carry a 1960s rock vibe, as well as, a touch of vocal styling similar to those of Jack Antonoff of Steel Train. The album does not stick purely to soft tempos. The songs’ dynamics and adorning of violins and xylophone maintain the listener’s interest.

The four first tracks on the album focus on the tenderness of love, but starting with “Sous La Lune”, which translates to “Under the Moon,” the band seems to have a little more fun. The track is sung in French, pushing romanticism to another level. The melody is mid-tempo and sweet. The tambourine and concertina make listeners feel as though they are sitting at a café in France.

The next track sends Yes Nice to Argentina for the song “Tango”. The violin and percussion make the song sound very dramatic, just like the dance. The lyrics are spoken, and segments of chamber chanting add a touch of Italy.

The band gets really silly on “Hay-Ay-La-Ma-Hay-Ah”, a track with high-pitched group vocals, and “Children Talk With the Old People”, which incorporates a darling children’s choir for the chorus.

Yes Nice is that sweet guy who secretly has a crush on his female best friend. He is kind, silly, and always says the right things, but fails to get past the best friend stage.

However, unlike that type of guy, Yes Nice has the potential to be more than just a cutesy band that sings about love, dreams and moonlight.


Monday, April 13, 2009

Album Review: Yes Nice - Yes Nice EP

Originally published April 13, 2009 in Soundcheck Magazine.
Direct link to article

Yes Nice
Yes Nice EP

Self-released

Yes Nice, from Edmonton, Alberta, Canada, can be fittingly described as being made of sugar and spice, and everything nice. However, the proportions of violin-infused indie rock, sunny 1960s pop, and funky bass lines on the band’s self-titled EP are slightly off-balance.

There are some great songs on the EP, and it is livelier and more varied than the band’s full-length, which also is self-titled. However, there are too many ideas for squeezing into the eight tracks. Yes Nice is capable of succeeding in many styles, but the young band, which has been together for a little more than a year, still is trying to hone in on its sound.

Yes Nice is at its best when it focuses on its winsome and mystical sound with violins, xylophone and handclaps. The opening “Flame Intro” does just that. It would be hard for a listener’s ears not to perk up with the simple but catchy sound of handclaps, accented by soft violins. The violins are reminiscent of other young bands, such as Ra Ra Riot, but are less dramatic.

The violin intro bleeds into the delicate “The Flame”. The male lead vocals harmonize sweetly with female vocals and complement the crispy sounds of fire and fireflies at the end of the song.

“Pizzicato” and “Good Old Days” are two songs where Yes Nice really shines. “Pizzicato” is an instrumental track that easily could have been arranged by Kaki King or Sufjan Stevens. Strings, shakers and xylophone help create a calming image of rhythmic, dripping water. “Good Old Days” is a fun, cheerful track that starts with the chorus, which is about the sun, flowers and time. About halfway through the song, the tempo dips down and builds back up to the entrancing guitar.

The EP’s imbalance is shown on “Demons”. The vocal style remains as soft as it is on the other tracks, but a guitar part sounds like a combination of classic rock and modern rock bands, such as Incubus and Red Hot Chili Peppers. It throws off the mood that the other songs created.

“Anywhere With You” also mixes in a different style; in this case, it is a funky, reggae sound. The latter track is more seamless and holds on to the enchanting factor with violins and xylophone, which sound like buzzing bees.

An EP is a good place to experiment with styles, and with a little more work, Yes Nice will find its ideal recipe.