Album Review: Cheat Sheet - Songs To Yawn To

Originally published January 20, 2011 in Redefine Magazine.
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Cheat Sheet
Songs To Yawn To
Self Released

While Cheat Sheet hails from Michigan, there is something about the duo's smoggy, laid-back songs that muster the dazed vibe of sunny Southern California. The noisy chaos and merged vocals on tracks "Customer Disservice" and "Expansive Ghosts" add a lot of energy to the debut entitled, Songs To Yawn To, which fans of bands like No Age, Japandroids and Tera Melos might dig -- but Cheat Sheet has yet to hone its very own sound. There are a lot of different ideas on the album, and it is not hard for a listener to lose interest when the sounds change direction. Where "Customer Disservice" is complex and clamorous, the following, "Community Chance," is more of a lazy summer day track. It has a hazy drone that could make it an ironic addition to Top 40 radio that becomes popular with potheads. Furthermore, "Variflex Vs. BMX" attempts to be an anthem for skateboarders and has the, "don't give a shit" attitude of The Black Lips, but without the gritty edge that would make it memorable. After a few listens to Songs To Yawn To, it becomes notable that Cheat Sheet shines most on tracks like "Neon Brown" and "Cassette Culture," which are full of melancholy and have a nostalgic feel of '90s indie rock. Cheat Sheet has respectable influences, but the duo needs to find an aspect that will make the undeniable Cheat Sheet sound. Then, in no time, the band will be ruling DIY house shows around the U.S.

Album Review: Pocket Panda - Pocket Panda EP

Originally published January 20, 2011 in Redefine Magazine.
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Pocket Panda
Pocket Panda EP
Self Released

Listening to the 5-song EP from Seattle's Pocket Panda is kind of like the first time that you see your older brother cry. You discover that burly men with deep voices can get sentimental too. With the band member count clocking in at seven, Pocket Panda is a conglomerate of various influences and talents. Mixing orchestral movements with indie rock, instrumentation ranges from cello to bassoon and piano. Every track starts with a soft, alluring intro, but the tranquility is slightly interrupted by the unexpected raspy vocals of Eric Herbig. It takes a while to get used to the contrast between the vocals, which are usually matched with hard rock or folk music, and the delicate instrumentation. For the most part, Herbig is able to get the tone to a point where it matches the reflective and thoughtful mood of the music. However, there are also times where emotions seem to get too high and the vocals reach a semi-aggressive tone. The harmonizing with a soft female voice helps bring balance and allow arrangements to glide and float into space easily. With the exception of "Problematic Friend," the strong vocals and melodramatic lyrics make the EP a bit heavy. Still, having formed in 2009, Pocket Panda is a young band that is not afraid to experiment. The music is honest and passionate, which can help it flourish into something more cohesive.

Album Review: MiM0SA - Silver Lining

Originally published in The Deli, Issue #7 (Fall 2010).
Download the PDF version of the magazine here.

MiM0SA
Silver Lining

There is something very fluid about the latest release from MiM0SA called “Silver Lining.” While the first track “The Higher Consciousness,” opens with the sound of sirens, giving an impression of mayhem, the album is very much meticulously organized. The talented producer, also known as, Tigran Mkhitaryan, crafts thoughtfully layered electronic music and is good at introducing new ideas at the right time and place. The layered beats never sound cluttered, overwhelming or forced and there are always interesting lines to follow on each track. Although there is a lot of movement, the overall affect is tranquil. One of the few tracks that features vocals is the standout “Drippin.” Laser beam and space battle sounds build a galactic vibe while crisp drum beats, synth and hip female vocals build imagery of urban nightlife. “Pushing Little Daisies” also features vocals, but short male phrases are more characteristic of dub style. Whether staying in on a rainy night or going out with friends, “Silver Lining” is a pleasant listen.

Album Review: Taylor Locke & The Roughs - Marathon

Originally published in The Deli, Issue #7 (Fall 2010).
Download the PDF version of the magazine here.

Taylor Locke & The Roughs
Marathon

Los Angeles is full of show-off musicians and now Taylor Locke & The Roughs can be added to the list, but in this case, it’s in the most humbling way. Releasing two full-length albums this year, which serve as history lessons for rock ‘n’ roll, the band is proving that it can churn out fun, relatable rock songs with competence and ease. Taylor Locke & the Roughs is comprised of four well-known LA musicians, Locke also plays in Rooney, guitarist Chris Price in the band Price, bassist Charlotte Froom previously played in The Like, and drummer Mikey McCormack is a member of Everybody Else. The sophomore release, “Marathon,” opens with a 6-minute medley of mini-songs where the band showcases all of its influences, from '60s pop harmonies to fast garage rock and gritty Southern twang. Locke and his crew have nothing to hide. They like music that is raw and vintage, sing about girls and write fun sing-along choruses that reflect it.

Album Review: The Sweet Repose - Lay Your Axe to Rest

Originally published in The Deli, Issue #7 (Fall 2010).
Download the PDF version of the magazine here.

The Sweet Repose
Lay Your Axe to Rest

If Drive Thru Records was still releasing music, the Sweet Repose would have most likely been the newest addition to the roster. Wearing their hearts on their sleeves, the three members of the Sweet Repose play music that is somewhere between Saves the Day and the Early November. Vocalist and songwriter Tommy Miller is a vulnerable poet who writes honest lyrics. Like all bands influenced by proper emo, the music on “Lay Your Axe to Rest” projects anguish and signs of internal conflicts. With Sunny Day Real Estate as a main influence, the Sweet Repose layer heartfelt vocals over cascading drums and interject subtle tempo changes within songs. The vocals can comfort a broken heart, but include sporadic wails that can shake you up a bit. Lay Your Axe to Rest makes up in heart where it lacks in polish.

Album Review: Chico Mann - Analog Drift

Originally published October 12, 2010 in Redefine Magazine.
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Chico Mann
Analog Drift
Wax Poetics
A

Although it may be difficult to confine the music by multi-instrumentalist Chico Mann to just one genre, it is safe to say that his sophomore release, Analog Drift, is a quintessential New York album. With a heavy Afrobeat and Cuban influences, vocals in both Spanish and English, and a number of synthesizers in hand, Chico Mann, aka Marcos Garcia, creates a melting pot of soulful and sexy sounds, much like the city that never sleeps. Previously released digitally through Garcia’s Website, Analog Drift is now expanding its audience through Wax Poetics Records and is ready to be played on the dance floors. Right from the first beat, a listener will want to put on a fedora hat and take over the town.

Considering that Garcia grew up in New York and New Jersey and that his father was the owner of a NYC Latin record label, it's easy to see the authenticity in what he is trying to do with his music. Garcia has a deep understanding of which sounds from the past, present and future can work together to induce dancing. On the first track, "Harmonia," Garcia sings, "Queremos harmonia," which translates to, "We want harmony," and harmony is exactly what Garcia accomplishes on the album. As funky bass lines and finger-picked guitar rhythms lay the foundations, synthesizers shimmer and fill out each song. All the sounds seem to respect one another, allowing each one to breathe and flourish.

On "Anima" and "All That Is Rising," the synthesizers appear to have a conversation with each other. Before any vocals kick in, the instruments follow a call-and-response pattern. "All That Is Rising" has a more dramatic beginning as percussion builds up anticipation, creating imagery of an empty warehouse or a dark alley. More movement is slowly introduced, like a city transitioning into its time for nightlife.

While there is a lot of use of electronic sounds, the songs all come off as fun and smooth, as opposed to being hyper. A sense of hipness remains consistent throughout. With a modern touch, the album incorporates all that was cool in the '70s and '80s, from roller discos to break dancing. At times, Garcia's vocals reach a higher-pitched spectrum, but remain aligned with the energetic tradition of Cuban vocalists. The lyrics are more like phrases rather than stories, and while some are memorable, the focus is more on the musical groove and getting in the zone.

With a cover of Talking Heads' "Once In A Lifetime," the album goes deep into the '80s and wraps up nicely with the slower tempos of "Metele Mano" and "This Love." Even as the album seeps into nostalgia, the good energy remains. There is no moment on the album where things clash or seem forced. Like the diverse history of New York City makes it one of the most fascinating places in the world, Analog Drift takes the classic and the new to make an invigorating experience.

Album Review: WOMEN - Public Strain

Originally published September 20, 2010 in Redefine Magazine.
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WOMEN
Public Strain
Jagjaguwar
B

The opening track to Public Strain, the sophomore release from the Alberta, Canada band WOMEN, may sound like it is straight out of a slasher film, but there is nothing frightening about this band. Instead of pounding beats that could lead up to a blood-gushing scene, the song "Can't You See," creates the tension of a desolate night with intricate distortion and calming vocals, in tune with sophisticated thrillers like those directed by Christopher Nolan. Much like Nolan's films, especially this summer's Inception, WOMEN plays with the idea of reality and mazes, making the listener fall into a dream-like state. Yes, the vocals are ghostly, but underneath that, there is beauty and complex guitar work. Hearing this album may put listeners in a haze, but it's all part of the experience.

WOMEN shows its ability to editorialize on this album. There is not as much clatter as there was on the band's 2008 self-titled debut. The group shows restraint and good judgment as to where in a song it is appropriate to add fuzzy elements. For example, "Penal Colony" is a track that begins with melancholy vocals, a straight-forward guitar strum and steady kick drum. There is some fogginess in the background, but the noise moves so harmoniously with the rest of the song that it is hardly noticeable. Rather than the noise weaving through the song and feeling like an annoyance, it adds warmth and it is not until the tail end of the song that the static grows and becomes solitary feedback.

There are a handful of tracks where the commotion is more apparent, and the group shines there as well. "Heat Distraction" and "China Steps" are livelier tracks with grating dissonance. The vocals remain muffled, but the guitar parts are interesting to follow. The obscure guitar playing stirs up psychedelic images of strings that are out of control as they are pulled and released, while their vibrations are magnified. In that same manner, the instrumental layers on "Locust Valley" create a maze that takes listeners on a journey through lush scenery. There are moments in the song where it drops down to a simple strum and the listener is whipped out of a dream state, but there are still hints of awe.

While there are some dark moods found in "Cant You See" and "Bells" -- an instrumental track resembling a dark church hymn -- the album leaves off on a nice bright note. "Eyesore" is a folky beach tune with amiable vocals and a sweet melody. The song leaves a cozy feeling, but it is still undeniable that the journey to feeling comfortable with WOMEN's sound was a long and perplexing trek. The band's music is comparable to other groups such as Thee Oh Sees, Wavves, and Vivian Girls, but WOMEN go deeper into a listener's head. The music seeps into more inner thoughts and turmoil, which will eventually leave a satisfactory feeling, but may be harder to appreciate.

Album Review: Tea Cozies - Hot Probs

Originally published July 10, 2009 in Redefine Magazine.
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Tea Cozies
Hot Probs
So Hard
A-

If the sound of blistering guitars on the opening track, "Boys at the Metro," doesn't get a listener's attention, the "hey!" shouts will make it clearly known that Seattle's Tea Cozies are not willing to go unnoticed. Following a 5-song EP, which received airplay on Seattle's KEXP and numerous Internet radio stations, Tea Cozies continue to deliver an enticing mix of '60s girl pop and swirling garage rock on their full-length debut, Hot Probs.

With sweet harmonies and 3/4ths of the band being female, Tea Cozies possess the raw sound similar to that of bands like Vivian Girls, but the energy is at a much higher level and more likely to provoke people to dancing. While there are plenty of angelic seesaw rhythms and cute lyrics, such as, "I had a boy and he had a bike and we got along real nice," vocalists Jessi Reed and Brady Harvey are also witty and sharp-tongued. Pop culture icons Steven Spielberg, Oscar Wilde, Fred Astaire and Mary Shelley find their way into songs among words of wisdom, which reveal, "Even pretty pages crack in old books/ You can't rely on your good looks."

The music arrangements are just as interesting to listen to as the lyrics. Tea Cozies have a standard rock set-up -- with two guitars, bass, drums, and the occasional organ -- but they manage to incorporate unexpected twists and turns into songs. "Like Luca Brasi" switches back and forth from an upbeat pace to a dreamy stride, which happens a bit sudden but still sounds seamless. The song, which is about a girl who is hesitant to go swimming while on a trip with friends, but is convinced to do so and ends up drowning, summarizes the band pretty well. However, unlike the girl in the story who did not listen to her instincts, Tea Cozies are very instinctive. The band members are loud and forceful when they feel the need and slow it down if they get the urge, which adds a lot of diversity to the album.

For every straightforward pop track on Hot Probs, there is one rocking garage or soothing psychedelic track to counteract the sugary goodness. "Corner Store Girls" can be best described as bibbity bop as images of bunnies hopping in meadows, bees buzzing in gardens, and couples rollerskating at the boardwalk come to mind. The song is followed by "The South Turned Him Sour," which contains rich and gritty sounds of roller derbies and hot rod racing.

Toward the end of the album, the music loses a bit of momentum as songs become slower and more psychedelic. There are some instances where the vocalists sound bored, but that could be mistaken with bravado. Even as the songs slow down, there is a strong aura of confidence, but it is never pretentious.

Album Review: Schleusolz - Running Out of Time

Originally published July 7, 2009 in Redefine Magazine.
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Schleusolz
Running Out of Time
Schokokontrol
C

Anyone who is going to listen to Schleusolz' debut album, Running Out of Time, should be prepared to take part in some quirky dancing -- as in the type of dancing that middle-aged men in Hawaiian shirts carry out at music festivals. Doing so is not necessarily a bad thing. It just means that listeners should expect an unusual force behind Schleusolz' layered electro-rhythms that will induce much more than the standard head bop.

The Germany-based group scrambles sounds from all over the world and even what seem to be parts of outer-space. They channel a simplified version of Disney's Fantasia as if it were an '80s video game. Only a handful of songs contain vocals, but even the instrumental tracks seem to shout expressions. The music is hyper and soothing at the same time. This is what you would hear at a cheesy lounge bar, which is where the Hawaiian shirts would come in, but is overthrown by hipsters.

The members of Schleusolz self-admittedly describe their music as quirky and tongue-in-check in press releases. They say that they playfully poke fun at genres, with the desire to create the soundtrack to movies that can only be seen in the listener's mind. Some of the things Schleusolz toys with include swanky piano melodies, alien invasions, sitar, cowboy western, salsa and marching music.

The bizarre combinations may be off-putting, but there is something intriguing about tracks like "Running Out of Time" and "Neo-Liberal Coffee Bar." The former is fast and full of energy. The lovely beeping tones are interjected by moments of musical tension that would only enthuse a room full of partygoers jumping up and down. "Neo-Liberal Coffee Bar" is a tad more subdued, but also creates a zigzag of colorful images.

While there are a few songs that are majestic and memorable, others just pass by as ironic rather than entertaining. "The River of Love" has a western feel and imitates the sound of a cowboy swaggering into town as the sound of a trotting horse dominates. "Detroit Teenage Riot" is a collection of laser beams that come off sounding like a whiney conversation between the cosmos.

Even when sounds clash, the songs all contain enchanting warmth, but some need more focus. Fans of Tobacco (Anticon Records) will appreciate standout tracks, but as a whole, Schleusolz' Running Out of Time will not hit the spot for most.

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.

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.

Album Review: Yes Nice - Yes Nice EP

Originally published April 13, 2009 in Soundcheck Magazine.
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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.

Album Review: Loney Dear - Dear John

Originally published February 24, 2009 in Soundcheck Magazine.
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Loney Dear
Dear John
Polyvinyl Records

Unlike 2007’s bubbly Loney, Noir, the latest album by Swedish songwriter Emil Svanängen, aka Loney Dear, is emotionally strenuous. Listening to the soft, indie-pop songs is somewhat of a cleansing experience where the artist and listener sort through an array of emotions and get rid of doubts, regret, envy and grudges. Dear John has its ups and downs, which make it easy for listeners to wander off the trail, but those who finish the journey are rewarded with sweet satisfaction and high spirits.

Dear John starts on a high point with the sparkling “Airport Surroundings”. Svanängen’s voice is soft, but confident. There is a sense of urgency, like being caught in a rainstorm without an umbrella. The instrument layering builds up like a raindrop that is traveling quickly and about to burst. The strings on “Everything Turns to You” sound like thunder, adding to the high tension.

An escape from the storm is found on the third track, “I Was Only Going Out”, but the tempo abruptly slows down, as though Svanängen had the wind knocked out of him. The confidence found at the start of the album starts to peel and reveals vulnerability.

The middle part of the album is a little fuzzy and emotionally tiresome, but dashes of peppy whistles and synthesizer club beats try to keep the listener’s attention. The sun starts to shine on “Summers” with shimmering percussion and na-na-nas. However, clouds quickly conceal the sunshine with hollow organ on “Distant Lights” and the sedated “Harm/Slow”.

The last hint of unsettledness allows for a quick launch to optimism. The emotional transformation is liberating, and the last two songs flow with more ease. Dear John illustrates that with the good comes the bad, but in the end, everything will be fine.

Album Review: Her Space Holiday - XOXO, Panda And the New Kid Revival

Originally published December 2, 2008 in Soundcheck Magazine.
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Her Space Holiday
XOXO Panda, And the New Kid Revival
Mush Records

With XOXO, Panda and the New Kid Revival, Marc Bianchi, the man behind Her Space Holiday, does not have any plans to bore his fans with the same sound album after album.

“Oh I love you so very much / So much in fact I’m gonna switch it up”, Bianchi proclaims on the single “Sleepy Tigers”.

The line most likely is directed at a love interest, but it rightly describes Bianchi’s music career. Bianchi has proven his love for music and his fans by dabbling in numerous genres. In the early 1990s, he was a part of the hardcore scene in the California bay area with bands Indian Summer and Mohinder. However, for the past 12 years, he has been most known for the fuzzy electronic-fused indie pop recorded as Her Space Holiday.

XOXO, Panda is just another name that Bianchi has taken on, and The New Kid Revival is a more organic and spirited movement. The Her Space Holiday from the albums The Young Machines (2003) and The Past Presents the Future (2005) is not found here.

The whispered secrets and confessions that made listeners blush with guilt are replaced with clear and joyful chants. Synthetic string arrangements and drum machines disappear as guitars, banjo, mandolin, glockenspiel, and tambourines take center stage.

While Bianchi’s voice still is distinct, he sings with much more ease and honesty. The lyrics remain personal and, like any other Her Space Holiday song, illustrate captivating stories and images.

The newly acquired sound helps keep Her Space Holiday fans on their toes, but it is not something that would be difficult to find elsewhere. The handclaps and folk sound of “No More Good Ideas” and “The Boys and Girls” are similar to The Shins and Port O’Brien. Yet, with those same handclaps, Bianchi taps into a kid’s carefree energy and overshadows any hesitation to enjoy the album and sing along.

Album Review: Daniel Martin Moore - Stray Age

Originally published November 20, 2008 in Soundcheck Magazine.
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Daniel Martin Moore
Stray Age
Sub Pop Records

Daniel Martin Moore probably did not set out to be a singer/songwriter. The honesty and simplicity of his music give the impression that he possesses effortless natural talent. Moore recorded some songs, and, on a whim, sent them to Sub Pop Records. Sincerity, talent, and the unsolicited demo paid off, leading to the release of Stray Age. The calming melodies are similar to the music from the Pacific Northwest, but the bass and delicate guitar plucking reveal Moore’s Kentucky roots. The album is modest and intriguing, hinting that Moore is just getting started.

Album Review: Desolation Wilderness - White Light Strobing

Originally published November 20, 2008 in Soundcheck Magazine.
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Desolation Wilderness
White Light Strobing
K Records

If every old photo album carried a music chip, Desolation Wilderness would play at the turn of each page. Hailing from Olympia, Wash., Nicolaas Zwart is the brain behind Desolation Wilderness, and, with the help of a few friends, he created a record that reflects the lush scenery of his city. The sound is somewhere between The Album Leaf’s ambiance and Beach House’s timelessness. With heavy use of reverb, Zwart’s faint vocals travel through the instrumentation, which includes guitar, vibraphone, synthesizer and glockenspiel, in search of light. White Light Strobing is like a faded memory that resurfaces a warm, happy feeling.