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.

Calvin Johnson 'documents' the decades through music

Originally published January 27, 2009 in The Daily Democrat.

In many indie rock and punk music circles, Calvin Johnson is known as a musician, producer and founder of the influential, independent record label K Records. However, a better word to describe Johnson is documentarian.

As a teenager in the late ’70s, Johnson became involved with the underground art culture in Olympia, Wash., and has been documenting his community ever since. Through such outlets as, independent zines, community radio shows, cassettes, vinyl records, CDs and digital music, his experiences and creative endeavors of others have been cemented into history.

In addition to spotlighting his community, Johnson said that he has been playing music as a member of numerous bands and a solo artist for a few decades. He will be performing his solo work on Tuesday at Delta of Venus in Davis.

Johnson said that not only does the process of documenting one’s community allow for others to learn about different parts of the world, but it also equips people with knowledge, creativity and technological skills. He became engaged with events in his community while being a volunteer and DJ at Olympia’s community radio station, KAOS-FM.

“It trains people from consumers to producers,” he said.

Looking at all the things that Johnson has been involved with, whether it be writing for a music zine or starting K Records, which began as a cassette-only label in 1982, it is evident that he values creativity over following the latest fad.

“How relevant any of those mediums (community radio, cassettes, vinyl records) are, depends on how they are used,” Johnson said.

Just like the variety of mediums to express creativity, there is a lot of diversity in the K Records catalog and in Johnson’s own music projects. While the focus was on Olympia bands during the first years of K Records, the label has grown to include international bands of different genres.

By exploring the list of current and former K Records artists, examples of what one will find includes punk bands like Bikini Kill, noise rock bands like Old Time Relijun, singer songwriters like Mirah and Kimya Dawson and indie pop bands like Saturday Looks Good to Me.

Ranging from Beat Happening’s sweet indie pop in the ’80s to the funkier beats of Dub Narcotic Sound System, formed in ’93, Johnson’s music is just as varied as his label’s roster. Even his solo work has transformed from album to album.

Johnson said that his first solo album, “What Was Me,” was released in 2002 and it was very basic, only incorporating his voice and guitar. Some tracks were recorded accapella and others featured duets with K Records artist Mirah.

The following album, “Before the Dream Faded,” was released in 2005 and was a collaboration of several producers, Johnson said. The songs were expanded with the use of electronic beats.

With his third solo album, “Calvin Johnson and the Sons of the Soil,” Calvin took yet another direction by adding a full band. The album also featured a different take on some songs from the stripped-down album, “What Was Me.”

“It seemed like that they had different perspectives,” he said.

While the sound of each album is different, the passion for music remains consistent. Johnson seems to have an endless amount of ideas and he is not afraid to act on them, regardless of how strange they may seem. His droning, baritone voice calls for an acquired taste. However, the ease and honesty in his lyrics and music may help listeners overcome doubts.

Johnson has worked on music as a solo artist and as part of a collaboration with many people, but he said that he does not prefer one more than the other. As a solo artist he is able to concentrate more on his music. As a member of a group, arrangements of songs are more spontaneous and people feed off each other’s energy.

“People can influence each other in terms of the feeling,” he said.

Even when Johnson is working with bands on his record label, the spontaneous, collaborative feeling is present, Johnson said. Whether he is working with a veteran musician or a new, up-and-coming band, Johnson learns something new from every project.

“I feel like I’m their student,” he said.

Johnson said that during recent recording sessions with Chain and the Gang, he was very inspired because everyone was contributing ideas, which would lead to a string of more suggestions.

“The feeling was so good and positive,” Johnson said.

He was also in the studio recently recording his own music, he said. Fourteen tracks were recorded for a new project called the Hive Dwellers, which he projects will be released in the fall.

While many veteran musicians like Johnson often put down new music and reminisce about the “good times” of their childhoods, Johnson said that he is optimistic about the future. Music scenes are growing and improving as more people start bands and open live music venues. Johnson is just happy to continue his involvement with music.

“I’m glad that I have the privilege to work with so many creative people.”

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.

Album Review: Free Blood - The Singles

Originally published November 20, 2008 in Soundcheck Magazine.
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Free Blood
The Singles
Rong Music / DFA Records

Since forming in 2003, Free Blood has released its music in small doses. The band started sharing its music in live settings only. When songs were finally recorded, they were released as three 12-inch vinyl singles on U.K. label Adventures Close to Home. Perhaps Free Blood was afraid people would not be able to handle its chaotic party sound in large doses. Luckily, listeners now have the chance to take a risk with the six songs and five remixes found on The Singles.

Free Blood is Madeline Davy and former !!! vocalist, John Pugh. The duo takes it a bit easy on the first track, “Never Hear Surf Music Again”, allowing listeners to warm up. The song seems harmless with Pugh’s whispered vocals and soft percussion, but the first lyric hints at the mayhem that Free Blood is about to unleash.

“There must be some fucking chemical that makes us different from animals”.

Whatever that chemical is, it has a strong presence throughout the album. “Never Hear Surf Music Again” hits a high with screeching violins and strings that sound to be flying all over the place.

Free Blood mixes a lot of different elements, but the overall sound is collected and catchy. The lyrics are phrases that partygoers could easily remember and shout out while making their way across dance floors.

With laughter in the background and Pugh and Davy trading off vocals, tracks sound like recordings of a schoolyard. Free Blood embodies the energy of hyper children, and the music is spastic. It’s similar to Hella and has infectious beats comparable to LCD Soundsystem.

At times it might be hard to differentiate Free Blood from Pugh’s work in !!!, but a few more listens reveal a more funky and free-spirited tone. Most of the remixes on The Singles are glum and do not offer the songs a distinctive contrast; however, it would not be a bad thing to overdose on anything Free Blood produces.

Album Review: Tobacco - Fucked Up Friends

Originally published October 7, 2008 in Soundcheck Magazine.
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Tobacco
Fucked Up Friends
Anticon. Records

In high school, my idea of multi-tasking was doing homework while simultaneously watching TV, listening to the radio and talking on the phone. Tobacco’s Fucked Up Friends is kind of like that. Sounds travel in all directions and frequencies, mystically making sense.

Tobacco’s instrumental songs are more cryptic than his work in Black Moth Super Rainbow, but still powerfully demand attention. Gripping hip-hop beats add the feel of dusty vinyl and fuzzy analog synths set the listener’s brain on coast. With guest vocals from Aesop Rock on “Dirt”, Tobacco proves that he is making friends with the right people.

Album Review: Pretty & Nice - Get Young

Originally published October 7, 2008 in Soundcheck Magazine.
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Pretty & Nice
Get Young
Hardly Art

The sophomore album from Boston’s Pretty & Nice, out on Sub Pop’s Hardly Art label, brings bands like Hot Hot Heat, The Futureheads, and, at times, The Hives to mind. However, don’t be fooled by the hard-hitting opening of “Piranha”: there is hardly anything garage rock about Get Young. The album, recorded in the band’s basement, is theatrical pop with its frantic and hyper jingle and jangle of percussion and synth. The band’s exuberance is mod but fun. Yet, it is hard to tell if they can offer anything that will set them apart from others.

Album Review: Woodhands - Heart Attack

Originally published September 26, 2008 in Soundcheck Magazine.
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Woodhands
Heart Attack
Paper Bag Records

Before superstar athletes such as Michael Phelps hit Beijing for the Olympics, Toronto-based electro duo Woodhands chalked one up for Canada. Woodhands’ Chinese debut in May made a splash with two electrifying performances that reached energy levels of Olympic proportions. Without skipping a beat, Woodhands backs up the well-received performances with its sophomore release, Heart Attack.

Heart Attack is the first Woodhands album on Toronto’s independent label, Paper Bag Records, home to Broken Social Scene and Tokyo Police Club’s back catalog. Staying true to the label’s dynamic roster, Woodhands opts out from the laptop route of making electronic music and instead records and performs with more conventional instruments. Woodhands is composed of Dan Werb on vocals, keytar, synthesizers, and drum machines and Paul Banwatt on drums and vocals. The outcome is a loud mix of piercing beats and punchy sounds that rival the high spirits of other 2008 dance records such as Hot Chip’s Made in the Dark and Girl Talk’s Feed the Animals.

Not only do Werb and Banwatt create songs that can fuel a dance party well into the night, but they also add an element of surprise to each track. “In the Woods” begins with gritty synthesizers and pounding bass, but it ends with the organic sound of hand drums. Banwatt’s drumming really stands out and is refreshing against the synthesizers and loops.

Other surprise treats include guest vocals by fellow Canadian and Henri Fabergé and The Adorables member Maylee Todd on “Dancer”. Todd’s voice on the track is graceful and wistful; unfortunately, Werb tries to add contrast with brash vocoder shouts, which end up sounding a little too harsh and distracting. Werb alters his voice on quite a few occasions, but he sounds best when his less-abrasive and natural voice is tweaked to sound spacey and robotic.

Heart Attack ends on an elegant note with the softer “Straighten the Curtain” and “Sailboats” signaling the end of the dance party but leaving the listener with anticipation for the next one.