I will come straight out and say it, I don’t “get” Sufjan Stevens new EP but, when the label’s press release contains the following:
“The EP, All Delighted People, is built around two different versions of Sufjan’s long-form epic ballad “All Delighted People,” a dramatic homage to the Apocalypse, existential ennui, and Paul Simon’s “Sounds of Silence.”
I don’t get too hung up on trying to “get” it and just listen to the music, which I find is the key to truly enjoying this EP. Taking a stroll through the 60 minutes of experimental music making I found myself referencing a totally random assortment of musical touch point. From the trippy Pink Floyd-esque guitar riffs in the monstrous piece “Dojariah” to the tender acoustic chamber folk track “Heirloom” – which definitely carries some heavy S & G influence – to the sparse ballad “Arnika” which circles back around to Steven’s previous work this is an EP overrun with inspiration. Steven’s undeniable musical ability is only part of what makes All Delighted People successful, the other major factor is the creator’s confidence in his experimental approach.
The eight tracks that make up All Delighted People are all very independent pieces, drawing on their own pools of inspiration and expressed in whatever manner Steven’s feels appropriate to sufficiently represent the . No where is this better demonstrated than on the 17 minute closer “Dojariah” which pulls out all the stops- fuzzy guitar solos, rhythmic chanted choruses, inconsistent but effective horns – all to achieve his “guitar jam-for-single-mothers.” The chaos of the arrangement’s opening peaks then dips beautifully into Steven’s own lyrical ode. While 17 minutes may seem a bit much on the surface he truly uses every moment to tell his story.
The titular track comes in two variations (Classic Rock and Original) on the EP and are the most focused tracks Stevens offers up on this release. They achieve their epic sound with classic techniques like swelling strings and rich horn sections but arranged within the quirky structure Stevens relishes. The distinct pluck of the banjo and the off beat lyrics push it just enough off course to make it refreshing without being too obtuse. Of course he is taking this new material on the road this fall where I’m sure it will pick up even more flavor – and maybe, within the context of the live show, make a bit more sense – but for the $5 he is asking this is a 60 minute adventure well worth having.
[MP3] Too Much (short version)
Madeline Adams is another young singer with gobs more talent than I’ll ever have and she wields her skills without using over simplified cliche lyrical confessions. Miss Adams has clearly studied the greats and adopted their surefooted vocals while covering some more modern subject matter. While she may not be reinventing the genre she is extending it’s relevance with fine form. She’ll be opening for Elf Power on their European tour which sounds like a pretty fantastic bill.
[MP3] White Flag
This band is a lot of fun. The Oxford trio has a very careful sound pieced together to create full soundscapes that still manage to be playful. Their vocals spread neatly over their simple arrangements – clean percussion and synths giving pluck to uncomplicated guitar and bass lines- in the way that melds the music into a whole. I’m particularly fond of this acustic version of their hit “Microlite.”
[MP3] Microlite (acoustic)
There is something dreamy but luscious about Youth Sounds’ lead vocals that belies their ability to crank out a solid rock line. The four piece from New Orleans have a very subtle way of working their way into your head. It took me a few times passing through their new EP The Bit Parts before I realized I was unconsciously humming the chorus from “Smoke & Mirrors” during my bike ride to work. They have a far amount of room to grow but given the chance and the support I have now doubt their sound could one day be epic. For now it’s easily consumable and very nicely presented.
[MP3] As Strangers Would
Shaking Through’s first season is coming to and end and YVYLN’s Mark Schonenveld’s last pick is Philly’s Party Photographers, a fine choice if I do say so myself. These punk rockers embody the kind of spirit that makes the Philly music scene so spectacular; they’re laid back music lovers from different backgrounds who have a lot of fun playing together. The track they wrote for their Shaking Through session was their 21st -therefore aptly named “21″- reflects the same gritty rock sound they’re known for. If you haven’t heard Party Photographers yet, or checked out the Shaking Through series, this is a great intro. Head on over to Shaking Through’s website and browse through the video snippets from the session. Like this nice peak into that Philly scene I mentioned…
Shaking Through: Party Photographers – The Philadelphia Scene from Weathervane Music on Vimeo.
Download “21″ from Shaking Through HERE
“Fred Astaire” – The So So Glos from Matthew Greeley on Vimeo.
I’m a sucker for a little old school dancing and the So So Glos give a taste of it with this video for “Fred Astaire.” It’s quick but still has enough to delight- I, for one, love the capture of the fella’s ratty converse wearing feet tapping along- as the top hatted man twirls through the sidewalks of New York. It’s a lice stylized contrast to the rushing pace of the song.
[MP3] Fred Astaire
[MP3] No More Pirates
TWIAPC fav Chris Garneau is back with another charming-if not slightly creepy- video. Considering the song is fairly strange on it’s lonesome it seems only natural that he pairs it up with some off kilter imagery. The puppetry is used to great effect, particularly when the skeletons are used to mimic the shuffling bones sound. Garneau’s videos are always a fun ride and this one is no different. I would love for him to pu tit all out there on the stage in one of his live shows. Not that his live stuff isn’t awesome as is, but it’d be a nice little change in the game.
Ida Maria “Quite nice people” from NewsOnRequest on Vimeo.
There really aren’t many ways I know if to fully convey how excited I am about Ida’s new album Katla coming out. Fortress Round My Heart has brought nothing but smiles to my life since it came out last year. This is the first nibble Miss Maria gave from the album and it’s most wonderful. As always her lyrics are honest and relatable and I really like that the video is very simple. Can’t wait to get my hands on the rest of Katla.
This album is fall. The new project from Jose Gonzalez -well, not necessarily new since Gonzalez and the two friends that round out Junip have been playing together since they were 14- is the sonic equivalent of throwing on a comfortable sweater and heading out into a crisp evening with bright red leaves crunching underfoot. The eleven tracks on Fields are familiar but none the less fascinating. The trio’s years of playing together, each building their individual abilities within the context of the others creates an easiness in their sound that you can’t manufacture.
Starting with the cooly retro “In Every Direction” you get the immediate sense that this group isn’t in a rush to get anywhere, instead they want you to settle in and enjoy the ride. Simple guitars set the mood while weightier moog and synthesized organs contribute the attitude. This chilled out 70′s vibe carries through the entire album, I haven’t enjoyed the sound of a well played rhodes in a long long while and when paired with Gonzalez’s unassuming vocals it is down right transcendant.
“It’s Alright” marks a turn for folkier territory as they thin out their arrangements-relying mostly on Gonzalez’s delivery and simple percussion to tell their tales. Compared to the lush warmth of the first few tracks the rest of the album plays out with a refreshing conciseness. The well orchestrated arc this album takes you through is just further evidence of Junip’s skill. Fields is perfectly timed for the season when we begin to slow down and become more aware. I would highly recommend loading this album on to your iPod and slipping some head phones on during that evening meander. It will be a blissful experience.
[MP3] Always (Run Roc Remix)
Scottish band Frightened Rabbit were back in Philly, this time at the union lunchroom come pseudo venue, for another night of fantastic music. I doubt I have seen any other band as much I have seen these five fellas and I can honestly say they have yet to disappoint me. We all have those bands whose shows we attend out of dedication and affinity for their work- even if you don’t like their latest album you just gotta go. Frightened Rabbit transcends that status as was on fine display during their most recent stop.
I have often mentioned that a large part of their live appeal is the genuine delivery of their material but as they’ve continued touring they’ve become masters of keeping it intriguing. During their set at The Starlight they found the prefect mix of old and new tunes. Opening with the rich guitar trance of “Things” off of their 2010 album Winter Of Mixed Drinks they enveloped the crowd in the swell of percussion and vocals that marks their work. For the rest of the show they volleyed between old and new encouraging the audience to sing along with Scott Hutchinson’s straightforward croon. It was awesome to see a room full of fans get fully swept up into their set.
The live version of “The Loneliness & The Scream” – which capped the evening- was even more dynamic than the album version, the dueling guitars and howled backing vocals pushed beyond the simple lyrics to alight the core energy of Frightened Rabbit’s sound- raw and fervent. Even when playing older material they gave it new spirit, no better demonstrated than by their refreshed version of “Backwards Walk,” now more reflective than relationship dirge. They even resurrected “Be Less Rude”a piece from their first album and one that never gets the attention it deserves. Their ability to avoid formulaic live shows along with the continue evolution of their songs assure me that Frightened Rabbit will continue to entertain.
[MP3] Be Less Rude (Daytrotter Session)
There are few people who’s work I just trust. When I see their stuff in my inbox I know it’s gonna do me right. Emilio Abadia is one of those people his jams always put me in a good mood. This new mixtape Night Life is no different. I threw this on today during a particularly stressful crunch and escaped into my headphones. It quickly put me in the zone and when it’s hour was up I was ready for anything. Try it on for size if you like gowan over to crossfaderking and download it directly.
Emilio Abadia’s – Night Life by Crossfader King
Track listing:
Cassius – I<3 U SO
Boys Noize – Yeah
DJ Eako, Peppe Nastri – Stupid Game (Stefano Pain & Marecel Mix)
Jerome Isma, Paul Thomas – Tommorrow
Chubby Fingers -Into The Night (Jazz-e Reflections Mix)
Robyn – Hang With Me (Avicii Club Mix)
Aniki -Lesbian Bondage Fiasco
Chris Lake, Marco lys – Atari Funked Te Amstrad
Steve Angelo -KNAS
Treasure Fingers – Lift Me
Dan Rockz – Liki Liki (Homeaffairs Dub)
Milton Jackson – Breathe (Roy Rosenfeld Remix)
In a TWIAPC first I give you an exclusive track from Ruby Isle’s newest release Appetite For Destruction. That’s right for their latest effort the dancepop trio, known for their groovable takes on everything from Animal Collective to Bon Iver, set their sights on reinterpreting the Guns ‘N Roses classic of the same name.
Of course they didn’t just wander into the studio to do danceable versions of each track -although that was a goal – instead they brought in all sorts of guests playing both live and electronic instruments including, but not limited to: strings, French female vocals and a jazz quartet. Har Mar Superstar even guests on the amazing “Sweet Child O Mine,” a version you could only pull off in the karaoke bar in your dreams. I’ve listened to the album a few times now and I really can’t find any notable flaws. Just further proof that Ruby Isle’s bold experimentation puts them in a class of their own.
You’d be a fool not to get your hands on the full deal but for now here is your first chance to get at “You’re Crazy” and a stream of “Paradise City”
[MP3] You’re Crazy
The opening track on Ra Ra Riot’s newest album is so mesmerizing I can see why they also made it the title track. The fullness of the arrangement- strings providing uncommon lushness to an affable bass line- combined with the plaintive, but not whiney, lyrics create a completely satiating song. It also establishes a standard for the album that may have been better introduced a little later as The Orchard’s structure as an album is a little off balance. At fist listen I was totally bored by the end of the 10 song collection however, after a few more intent listens I started to see the shape the well loved chamber pop group was trying to give the full release. Embracing the richness of the strings and refining their more poppy antics to progress their sound is a bold goal and, for the most part, The Orchard proves the density of talent amongst the group’s five members; there remains, however, some more work to be done in curating an album.
Despite the imbalance -one that struck me primarily because I had such expectations for this group- The Orchard still surpasses the majority of music floating around these days. The complexity and emotional weight of “The Orchard” is found again in the honest vocal delivery of “You And I Know” which builds in intensity into what only can be called organized chaos then cools itself off like many a relationship analysis. It’s a fine piece of expression and I can only imagine even more so live.
[MP3] Foolish (Daytrotter Session)
Bombay Bicycle Club have steadily been building their following in the US while simultaneously tucking some major UK accolades in their pockets for years. With the release of their most recent album Flaws I foresee a giant leap into the hearts of American folk lovers. Timing their second release for midsummer was a wonderful idea as the eleven tracks combine to create a serene soundtrack for those languid – and blazing- summer days. The real strength of Flaw is that it maintains the delicate musical construction BBC connoisseurs expect and truly relish in while also injecting some intriguing elements to attract a more commercial ear. The lead single “Ivy & Gold” skips along under the propulsion of cleanly picked guitars and a dryly galloping snare while the dense harmonies give the song it’s body. This level of intention is threaded through the entirety of Bombay Bicycle Club’s sophomore effort.
Each song on Flaw is a gentle exploration of the relationship between instrumentation and lyrics; the lyrics of “Leaving Blues” are calmly reflective but the phrasing of the underlying instrumentals suggest slight hesitation which evokes the false confidence of a self assured broken heart. The sweet soul of “Fairytale Lullaby” comes from Jamie McColl’s graceful guitar line, and would stand alone beautifully without vocals but the addition of Jack Steadman’s tender voice creates an even more satiating experience. All four members of the group are given an opportunity, at one time or another, to carry the listeners attention. The ebb and flow of this consistent rotation of focus is perhaps one of the most engaging elements of BBC’s work. Even a cursory listen to this album will satisfy you but give it your real attention and it’s layers will unfurl before you.
B+