Flying Lotus: Until The Quiet Comes

     Few people in the electronic music world would argue that Steven Ellison, AKA Flying Lotus, has been a frontrunner in contemporary beat production.  In an era where of bass drops and noise for noise's sake, Flying Lotus experiments with subtlety and mood to create a prettier, more crafted electronic style.  Following his 2010 masterpiece Cosmogramma, Lotus needed to venture in a new direction to keep his place in the ranks.  Until The Quiet Comes shows his most recent direction.

     Where Cosmogramma is packed with layers, Until The Quiet Comes is spacier, giving the beats more room to breathe.  Rich with trip-hop and jazz drumming, Until The Quiet Comes shows Flying Lotus exploring more dreamscapes than his previous efforts.  The opening jazz based tunes set the tone for the album; off kilter beats and synths and ethereal mood.  While it is no better or no worse than his previous efforts, it is refreshing to see Flying Lotus experimenting outside of the dense, concrete,  sounds of prior years.  

     As Until The Quiet Comes progresses, is veers off into yet a different progression.  While the sound is still sparse and skeletal, Lotus employs a more synth based vibe to the next batch of songs.  Although the basic approach is similar to his electronic counterparts, the results vastly differ.  Whereas the standard electro formula of the moment is a wall of sound, Until the Quiet Comes has individual low bit sounds scattered to create a more tasteful use of bleeps and wobbles.  Throughout the album is also a beatific melting of the two styles.

     As with Cosmogramma, Until The  Quiet Comes features a barrage of guest appearances, most notably Erykah Badu and Thom Yorke.  Flying Lotus utilizes these tools to near perfection.  He allows each guest to highlight a talent, but fully incorporate it into the Flying Lotus style.  None of the respective artists could get away with the sound on their own, as they are downplayed for the fluid style of the producing artist.   This is the real job of a guest artist, to highlight another the main theme, rather than to overtake it.

     Until The Quiet Comes proves, once again, that Flying Lotus is not a mere pit-stop of a current trend.  The electronic movement, along with all genres, will continue to ebb and flow into different sub-genres.  Some artists will be remembered for their talent, while others will be afterthoughts.  Until the Quiet Comes, with all its stylistic nuances, proves Flying Lotus' talent, and his place in the story of electronic music.

Mac Demarco: 2

     Mac Demarco has an uncanny knack about making the complex seem simple, and the simple even  simpler.  While earlier in the year Demarco flirted with a barrage of stylistic directions, he has seemed to have found his laid back niche on 2.  2 has a down home feel that meshes well with his deprecating song subjects.  The breezy musicianship provides a creative contrast to the dark and collapsing lyrics.  The shining example is the fantastically innovative opener "Cooking Something Good."  Here, Demarco sings about the doldrums of everyday life over loafing guitar sound.  As the song progresses however, it becomes apparent that he is singing about his father making drugs in the basement.  Similarly, 2's most heartfelt song is "Ode to a Viceroy,"  where Demarco sings about how much he loves cigarettes.  2's beauty and creativity lay not in the lyrics or instrumentation themselves, but the juxtaposition of the two.  The result is a "Lemonade out of lemons" feel that is flawlessly executed, and makes the listener's wost day have a bright side.

  

Neil Young and Crazyhorse: Psychedelic Pill

    Neil Young can JAM!  His knack for extended jams and proclivity towards improvisation is often overshadowed by his second to none songwriting ability, but when Young gets down, he can be as gritty as the jamband giants.  With the release of Psychedelic Pill,  Neil Young and Crazyhorse's first "proper" album in what feels like forever,  Young and crew put his folky songwriting to the side for a good dose of instruments.  

     When Neil Young teams up with Crazyhorse, there is often a heavier sound, and Psychedelic Pill is no exception.  Dense with reverb and feedback, the album title is very apropos.  Throughout the psychedelia of the album, however, Young stays true to his form, as he clearly prefers the driving of noise, rather than a sound that is ethereal and spatial.  Within Psychedelic Pill, Young prefers to use his instrumentation as a way to induce trance, most evidenced by his 27 minute opener, "Driftin' Back," a song that employs a simple chord progression with heavy Crazyhorse overlays.  Despite the extended songs, Psychedelic Pill is still classic Neil Young.  The songs, no matter how long, still use the traditional verse-chorus-verse format, Young just extends the breakdowns in between.  Young often utilizes this style in live shows, so Psychedelic Pill is a great example , and  a beautifully accurate portrayal, of Young and Crazyhorse is their rawest form.  Also, the sound of Psychedelic Pill, does not necessarily break new ground for Young, but rather highlight his talents and strong suits;  a much better exercise for someone with his age and credibility.  

     Per usual, Neil Young writes songs about getting old.  Those even remotely familiar with Young's work know that age is his preeminent fixation.  While some may consider the continuing subject bordering on schtick, one must look at the world through the eyes of Neil Young, a man who has stayed relevant through a seemingly endless gabal of trends and styles.  As an icon of cool, who has withstood decades of cultural vogue, Young is allowed to wear his age on his sleeve.

     Neil Young, and whatever entity he plays with, seems to have the Midas touch.  every note produced by the Canadian idealist still turns to gold.   Psychedelic Pill is another shining example of this, as Young and Crazyhorse capture their magic on record once again.  It is incredible to hear an album like Psychedelic Pill, a work that, after all these years, still hold up in the Neil Young pantheon of works.  

    

Tame Impala: Lonerism

     Tame Impala are the true sixties revivalists.  They exude the creativity and willingness to push the envelope more than any other bands in their respective genre.  They don't try to recreate the sounds of the sixties, but intensify them.   When the band released their 2010 breakthrough debut, Innerspeaker, the indie world saw a nearly perfect melange of psychedelic playfulness and pop sensibility.  With the release of their sophomore, Lonerism, Tame Impala have proven their talent was not a shot in the dark. 

     Lonerism further explores Tame Impala's brilliant sense of sounds, as the songs are awash in layers of lo-fi instrumentation, with a splash of synth.  While Tame Impala is not an electronic band, they have adopted a more freestyle approach to songwriting, not being weighed down by typical verse-chorus-chorus structure.  The music tends to wash over the listener like waves, continuously flowing and rolling, rather than being broken down into different song parts.   Lonerism exhibits Tame Impalas nearly flawless knack for combining organic and inorganic sounds into one sonic swirl.  The band uses traditional classic rock subtleties, with synthetic sounds interwoven in between.  The result is a level of layer and texture not done with this level of tact and grace; think surf rock, but played within a lucid dream.  

     Lonerism, expectantly, continues to deal with the band's, especially leader Kevin Parker's, feelings of alienation.  This is seemingly a cliche and transparent tool of the indie rock enterprise.  On closer inspection, Parker makes a clever twist on the notion; one that perfectly compliments the psychedelia of Lonerism.  Where the norm of alienation songwriting is pining over an object of affection, or the demoralization not being cool enough for others, Tame Impala dig deeper, harkening back to sixties classics like Revolver.  The lyrics on Lonerism sing about being on a different plane than the rest of the world.  There is no depression or distress in the words, more just a passive expression of being lost in a different world, expounding further on their psychedelic masterpiece. 

     Lonerism is a psychedelic oeuvre of sonic genius.  In the past several years, the indie world has done a good job recreating a psychedelic music scene, with different bands exploring different levels of the ether.  Lonerism is a benchmark of this continuously growing genre, and solidified Tame Impala's seat near the top of the psychedelic hierarchy.  Truly a masterpiece album.  

Trey Anastasio: Traveler

     So, the first thing listeners, especially Phish fans, must do before listening to Traveler, is to wash away any preconceived notions about what Trey Anastastio "should" sound like.  If not, it will surely be a disappointment.  Trey has always used his solo records to pursue his musical interests independent of Phish, and this time is no different.  For Traveler, the jam band jedi opted to release an unapologetically studio based album as he delves into his own version of indie pop.  Throughout the album, Anastasio offers up concise, catchy, tunes that are good, but may rub his fanbase the wrong way.  

     For quite some time now, Trey has been showing a proclivity to the indie scene, so Traveler should come as no surprise to Phish fans familiar with Trey's solo forays.  Traveler's songs are often poignant, very apropos for his current life.  Anastasio uses many of the brass and vocals typical to his solo records, but was also able to get his indie rocks off by working with indie icons such as The National and Mates of State.  The resulting sound is a slightly more haunting, spacious sound, not often found in his other solo work.  The indie-ish use of effects and textures give much of Traveler a dreamier sounds then his previous solo work, while still holding firmer to the ground than Phish.  Despite this, Trey is not afraid to bring his funk, most evident in the driving, "Pigtails," a song, which, per usual, has sub-par lyrics, bobs heads.  Another highlight is Anastasio's unbelievably funky take on the Gorillaz classic, "Clint Eastwood," which melts and molds its way through electrofunk, rock, and rap. All enhanced by Jennifer Hartswick's beautiful, soulful, voice.

     Phish fans, be not afraid, there are plenty more YEMs to be had. Traveler is for Trey. One thing that has made Phish so great is their ability to experiment with sound, and try new and different styles.  While this sound will not work for Phish, it does work well for Trey.  Those who are able to set aside their thoughts of what the album should be will be able to see Traveler's pleasant results.

 

 

Little People: We Are But Hunks Of Wood

     Way back in 2006, the English based DJ, Little People (AKA Laurent Clerc) released his debut masterpiece Mickey Mouse Operation.  While the album's dark thematic sound was raved by critics, poor promotion and Clerc's own malaise pushed the record, and his career off to the side. However, the ever growing musically accessibility of free internet radio resurrected Little People, as fans began to once again hear his unique sound.  Now, many years later, Little People comes out with his Sophomore effort, We Are But Hunks Of Wood.

      With its opening "Marzipan Children," Little People blazes a new trail for himself.  Gone are the minimalist drum and bass loops of the past, exchanged for a sweeping digital sounds.  The samples are virtually non-existent throughout the album, as that was his overlying problem with his previous work, along with the genre in general.  The album is far heavier on full electronic sounds and layered arrangements. The sweeping textures throughout We Are But Hunks Of Wood result in a far fuller, more complex, sound.  The basic tenants of Little People are present throughout the album, as it still waxes moody and emotive. We Are But Hunks of Wood simply expounds on Clerc's rookie effort, and shows a beautiful maturation.  We Are But Hunks Of Wood shows a revitalization of a brilliant DJ's career, as well as a beautiful set of mercurial electronic music.  As Laurent Clerc finds his sound and style, the electronic world can groove easy knowing that the wildly talented wunderkind is back.

Poolside: Pacific Standard Time

 

     Most artists endeavor to release albums that push the envelope or break new ground.  Musicians always seem to be striving for their own respective "Sgt. Peppers."  Such is not the case with Poolside, a Los Angeles based duo who came together to record their first LP, Pacific Standard Time, this summer.  The two partners came together, self-reportedly while drunk, to release a breezy summer album that does nothing but go along with a lazy Los Angeles afternoon.  

     Many critics would probably pan this album as an unimpressive example of the already over saturated chillwave genre.  To those critics defense, Pacific Standard Time's dancey synth beats, and simple vocals caked effects, is nothing that has never been done.  The formula is all pretty standard.  Chastising a chillwave band for oversimplifying, however, shows a definite misunderstanding of the goal of the genre, and especially Poolside.  These guys are not Pink Floyd; the listener does not crawl inside the structure of the album and slowly dissect it.  Rather, Pacific Standard Time is an accompaniment to another activity.  It is the background soundtrack of whatever setting and proceeding the listener to which the listener is doing, be it cleaning the house, or relaxing on a Los Angeles beach.  The languid disco beats are damn good, and the entire album is driving and engaging.  The easy mood of Pacific Standard Time makes the album approachable to all listeners. 

     After all is said and done, Poolside is a lazy L.A. duo who know their strengths and limitations. Instead of reaching for a level they cannot possibly achieve, the band sticks to what they know: head-bobbing, languid, tunes about girls and sunsets.   While the album itself may not be genius, the thematics of Pacific Standard Time are brilliant, as the band clearly achieved what it set out to.

Lupe Fiasco: Food and Liquor II: The Great American Rap Album

     Lupe Fiasco represents a new era in rap music.   Where transparency and bluntness were once the benchmarks of the hip-hop scene,  Fiasco seems to gravitate towards the abstract.  Instead of plain story telling he uses perverse analogies and lively imagery to convey his message of injustice and redemption.  After a disappointing sophomore album (even admitted by Fiasco, himself), the Chicago based rapper returns with Food and Liquor II:  The Great American Rap Album. 
     Musically, Food and Liquor sees a mellower  Lupe Fiasco.  Outside of his standard forays into rock, the album evokes a moody emotive vibe, rich in texture and layers of sound.  It results in a seemingly more mature rapper, able to wait for his moment.  Throughout Food and Liquor, Fiasco implores different instruments and samples to create a full sound that shows his progression as an artist.
     Lyrically, Fiasco continues to remain on the lunatic fringe of the hip-hop world.  Food and Liquor shines brightest when the artist allows himself to leave subject behind and use his imagery to paint the picture of the song.  Unlike the majority of credible rappers, Fiasco is not a great storyteller, but rather a great wordsmith who uses semantics as the subjects main conveyance.  Truthfully, Food and Liquor flounders most when Fiasco tries to stay on subject, as often his songs build up into too simplistic of a climax.
     Food and Liquor II shows a step up for Lupe Fiasco, but still not where critics originally thought he could be.  He teeters on the brink of genius, only to pull himself back.  As Fiasco progresses through his career,  he may be able to find the tact that helps him blast off, but until then the world can take pleasure in the fact that Food and Liquor II:  The Great American Rap Album, is pretty good.

    

Animal Collective Centipede Hz

     There is a bizarre phenomena that surrounds the Animal Collective; they are pulling themselves in both directions.  While they have become more melodically and sentimentally grounded, they have become sonically more outre.  In their over a decade long career, the Baltimore quartet has turned from slightly eccentric freak folk to jittery digital tweakers.  Animal Collective's most recent release, Centipede Hz follows the path the band has been heading in for the past couple years.  

     One thing is for sure, Centipede Hz is an Animal Collective album.  Many non fans may find the chaos overwhelming and uncomfortable.  Even those who ARE fans may be disappointed by the bands in-your-face, opaque nature, of Centipede Hz.  Where Animal Collectives previous efforts, the critically acclaimed Merriweather Post Pavilion and Strawberry Jam, patiently made beauty out of bedlam and noise, Centipede Hz sounds forced.  The result is a watered down version of what makes the band great.  Those familiar with Animal Collective will recognize it immediately.  Where Animal Collective typically allows the bleeps and boops to slowly come together into a song, Centipede Hz is the musical equivalent of paint being thrown on a wall.  The noises are there without purpose or inspiration.  

      Animal Collective has had a career that anyone in the non-mainstream music scene would envy.  Few bands have had the popular and critical acclaim that the band has collected throughout the years.  To say that the band has hit a high water mark would, at this point, still be a a ridiculous statement.  The band  has constantly proven themselves to push the envelope and try new things.  Centipede Hz, however, is the first time the band has rested on their laurels, and lacked forward momentum.  While the future of Animal Collective is still bright, even the best bands make clunkers, and Centipede Hz was theirs. 

Woods: Bend Beyond

     

     In the past few years, one of the most creative trends to emerge from the indie music scene is the new psychedelic revival.  Due to many factors, both within the music culture and society at large, listeners are gravitating to intelligent rock and folk tinged with layers of psychedelia.  On the forefront of this scene is Woods, a Brooklyn based band who seems to have perfected the art.  The group of workaholics have released seven LPs in the past seven years, as well as a myriad of EPs and single released as well.  Now, they have just released another fascinating album, Bend Beyond.
     Upon first listen, fans will hear a slightly different sound than expected.  After several years of pushing the envelope between pop and psychedelia, Woods have reeled it in.  The songs are shorter, and pursue a more traditional route.   There previous album, Sun and Shade,  saw the band further experimenting with languid jamming and long breakdowns, the songs on Bend Beyond are short and pithy.  Woods has the ability to flawlessly channel California surf pop, and the dreamy sounds of old Los Angeles. 
      While the ethereal textures and layers are still present, Bend Beyond shows a stripped down Woods: an unveiling of a band often masked by effects.  "It ain't easy" surely exemplifies this point the best.  It is a beautifully simple guitar based song unescorted by blankets of sound and noises; a very courageous move by the band.  The simplicity of the album results in a much cheerier sounding record than some previous efforts.
     As the Woods continue to pump out albums, they continue to explore new territory, and new sounds.  For Bend Beyond,  the new territory was tradition. Woods seemingly wanted to prove that they can spend more time cultivating simple beauty out of the songwriting process.  Their aim was to use the songs themselves, rather than the space within them to establish mood, and Bend Beyond does just that.

Bob Dylan: Tempest

     

     Never, in my generation, has a Bob Dylan album garnered so much hype. Without a doubt, this hype is warranted.  Since the late nineties, with the release of Love and Theft, Dylan has hit a new level of creativity that he has not experienced since he was a young man.  Now,  fifty years after his debut album, Dylan released Tempest, an incredible collection of songs that highlight what an austere figure the legend has become. 
     Lyrically, Dylan sings about the same things he always does: love, loss, rambling, and redemption.  Dylan honesty shines through in the album, as he doesn't change themes, but rather mood.  His lyrics and voice, now more ragged than ever, convey a world-weary mischievousness that only Bob Dylan can possess.  He sounds exhausted and ready to collapse, but filled with an energy that still causes him to sing, and live, the songs on the album.  Throughout Dylan's years, he hasn't really "grown up," and his songs about women put that on full, and glorious display.  At the same time, songs like "Long and Wasted Years" show the age in Dylan's illustrious life.  Also, the songs carry with a sort of aged confidence, something that the notoriously opaque Dylan is getting the hang of in his old age.
     Musically, Tempest is a collection of all the music Dylan has experienced throughout his life.  The album stays relatively true with its old-time rock theme, but Dylan also experiments with 12 bar blues and electric folk, among others.  The songs go together thematically, and instrumentally, giving Tempest one of Dylan's cohesive albums in years.
     The old adage of fine wine getting better with age is dated and cliche, but with an album like Tempest, it's hard not to use it.  As Dylan gets older, he seems to have a better, more wistful, outlook on life, and Tempest puts this on full pageantry.  Tempest is a beautiful conversation Dylan has with himself about the joys and sorrows of growing old.

Yeasayer: Fragrant World

     

     Brooklyn based Yeasayer constantly strives to break new ground, and their third full length album, Fragrant World, is no exception.  For this effort, the band drew from more genres than should be allowed, but it turns out well.  While there is still plenty in evidence in their odd time signatures and crowded sound, Yeasayer tightened the reigns on their indie rock weirdness, and experimented with synth effects and hip hop beats.  For their effort, Fragrant World incorporates all the complexities of their previous work without the overbearing sound of instruments fighting for room.  The band utilizes a bouncier feel to combat the sounds of instrumental disarray. 
     Those purists looking for a genuine indie, or electronic. album may want to look elsewhere, as Fragrant World makes no apologies for being a genuine fusion album.  The backbone of the songs are organic instruments, heavy on effects, and awash in synth to create a sound truly their own.  This practice is often used in the indie scene, but is rarely done this well.  Do not be fooled, however, Fragrant World is not in the vain of the electro pop making a wild run for Indie Rock's favorite sound. The beats are harsher and more convoluted, and the songs are not readily accessible.  They will not get stuck in your head for the day, but make you reflect for a few minutes before moving on to the next. While the beats and tones are breezier and jazzier, the
     In the past several years, Yeasayer has established themselves as Indie Rock guru's.  They have an excellent concept of sound that they proudly display on all their albums.  Fragrant World shows that the boys from Brooklyn continue to do what the Indie world has been trying to for years; find a delicate mesh of genres.  The only difference is, with Fragrant World, Yeasayer found the perfect recipe.

Ariel Pink's Haunted Graffiti: Mature Themes

 

     Ariel Pink has had a long career for being a relatively unknown musician.  His early claim to fame was his extensive cache of home recordings that would wind up in the hands of L.A. based musicians.  Pink hit his big break in 2010 when he released Before Today, a critically acclaimed album that put him on the lo-fi map.  Now, two years later, Ariel Pink comes back with Mature Themes, grittier counterpart to his previous effort.  While Before Today was not a particularly poppy album, it showed a sensibility that Pink never really explored.  Mature Themes certainly lacks that sense of melody and song, and may be a little too chaotic and bizarre for the casual fan.  As Mature Themes moves along, it becomes more apparent that this Pink trying to utilize a bigger budget to return to the sound of his home recordings.  He does it well.  The songs are loose and erratic, but are well produced.  Each noise has its place and purpose.

     Lyrically, Mature Themes is dark and dry. It is not mature, but does dabble into some taboo words and phrases; Pink makes references of masturbation and G-Spots.  The lyrics are completely nonsensical, and are pointless to dissect.  That is the plan though.  Ariel Pink does not try to be convoluted and opaque, he just is.  The irrational lyrics combine with the music to create a theme of confusion.  In the end, throughout the landscape of noise, Mature Themes comes together, and shows that Ariel Pink's bout with success was by no means a fluke.

Opossum: Electric Hawaii

     

      Electric Hawaii is a good debut for the New Zealand indie pop outfit, Opossum.  The band shows that they are mature beyond their albums with their beachy, post rock sound.  The band dabbles in a few different genres throughout the album, as they teeter the line lo-fi garage rock, and synthy sleekness.  Electric Hawaii's  action of subtly blending genres shows a musicality that is not too often found in debuts.  The band clearly has a distinct sense of sound and sensibility.  They are clearly not planning on being a one trick pony, and the difficult classification implies a bright future for the band.
     Unfortunately, Opossum's same philosophy that has made Electric Hawaii intriguing is also that which keeps it being from a benchmark debut.  While the cross pollination of genres is innovative, it is easier said than done.  Even though the band does pretty well sticking to the post punk sound, there is still a noticeable deviation between that sound and the synth pop that sometimes makes an appearance.  The two are by no means mutually exclusive,  but Electric Hawaii seems to go partway in each, without dedicating itself to a sound.  Sometimes, this works out.  In this case, however, it seems to lack a thematic element that could have been there with a more cohesive sound.  The idea of a diverse album it great, but the Electric Hawaii sounds more non-committal than advanced.
      Opossum showed they have talent with Electric Hawaii.  They put together a good batch of songs, and created a good debut album.   Their shortcomings are common pitfalls of debut albums.  At this point, the career path of Opossum is a "Choose Your Own Adventure" book.  All they have to do, is choose it.

Eliot Lipp: Shark Wolf Rabbit Snake

    

     In the past decade or so, electronic music has gone from fringe genre, to critically viable milieu, to over commodified advertising slogans.  To be a (critically) respected artist in the electronic scene is to push the envelope and dabble in the myriad of subgenres that electronic music provides. One such musician is Eliot Lipp, a producer who continuously pushes his, and the industries, boundaries with each album.  With his newest Release, Shark Wolf Rabbit Snake, Lipp proves to be as innovative as ever. 
     One thing certainly proven on Shark Wolf Rabbit Snake, is that Eliot Lipp loves music. More so  than any of his previous efforts, Lipp experiments heavily with sound, blending a myriad of genres, electronic or otherwise, and adding his own trademark style and synths.  The result is a fluid LP that changes and morphs into a motley of styles.  Lipp experiments with 80's synth pop, and even some jazz.   Of course, he unifies these sounds with the blips and beeps that fans come to expect. 
     Although it is becoming more commonplace, especially within Pretty Lights Music, Lipp's new troupe, one thing that has always Eliot Lipp apart from the mass of DJs in the scene, is his emotive style of mixing.  His textures and strong sense of melody give the songs a contemplative pathos, while still being able to fill dancefloors.  As previously stated, the implementation of emotive beats is becoming a new trend in electronic music; a trend started by Eliot Lipp.  Shark Wolf Rabbit Snake shows that he can do as well as anyone else in the business, shadowing even his previous works. 
     Electronic music is a tough genre, in that there is a very fine line between inspired and terrible.  Too often, a DJ will come along with lots of noise and no musicality, and create a stir before fading into obscurity.  Staying power requires conceptualism and a acute sense of musical ingenuity.  For the last eight years, Eliot Lipp has shown this in spades, and judging from Shark Wolf Rabbit Snake, the future is looking skyward for the producer.

Passion Pit: Gossamer

     Passion Pit is part of a surprisingly critical paradigm shift that has occurred in the last three years.  They are part of a troupe of electro-pop artists who walk the fine line between pop sound and sensibility, and artistic integrity.  Passion Pit, along with similar artists (Phoenix Miike Snow are what come to mind), show that a group can be both glossy and credible.  To prove that Passion Pit is not merely and point in time, the band released its prestigious sophomore album, Gossamer.

     Gossamer has an interesting juxtaposition within the album.  Behind the carefree synth beats, lies some pretty heavy topics.  Throughout the album, Passion Pit exercises their opinions and memoirs on political strife,  substance abuse issues, depression and suicide, and domestic abuse.  Despite the danceable lyrics, lead vocalist Michael Angelakos uses his band as a platform to exercise his personal demons.  While the instrumentation may combat the self-destructive nature of the lyrics, it shows that Passion Pit is so far evolved from the typical club music act.  The deeply personal, obviously biographical, lyrics transcend what many club acts are creating, and subsequently adds credibility for the sub-genre under the microscope.

     Musically, Gossamer displays a significant, albeit cloaked, maturation.  The basic Passion Pit formula is present, but far more textured and complex.  The band experiments with tempos and sound to create moodier songs than the debut effort.  By doing this, Gossamer keeps its' high-octane electro vibe, while still remaining calm and cerebral; perfectly complimenting Angelakos' lamenting lyrics.  Conversely, but no less important, the complex synths also create an atmospheric chaos that goes hand and with the downer lyrics.  The effect is mesmerizes the listener, as it evokes a dark nostalgic disposition as it plays.   Once again, showing the Passion Pit's willingness to push themselves outside their comfort zone, and experiment with their music.  

     Gossamer is a fantastic album, and a perfect benchmark for the world we live.  As it delicately walks the line between sleek fun and complete disaster, listeners will be reminded of their own world.  Everyone walks their own balance between emotions, and squints to see their own blurry line that separates revelry with bedlam.  As we listen, and take stock in our own lives, Gossamer reminds us all just how blurry that line can be.  Easily one of the best albums of 2012.

Call Him Back, You Never Will. Jerry Garcia 8/1/42-8/9/95

     

     On the evening of August 9th, 1995,  a nurse at Serenity Knolls Drug Treatment facility passed by Jerry Garcia's bedroom to clearly hear an absence of his stentorian snores.  As she crept in she saw Jerry lying motionless in his bed, with a beatific smile on his face.  When the coroner asked why she made his face like that, she explained that she didn't; that is just how she found him.  That evening, Jerry entered his next trip with a smile.
     The culture is filled with legendary musicians.  Jerry and The Dead hit their stride when the "best" were a dime a dozen, at least in their scene.  What makes Jerry different?   What makes him an icon above all the other musicians, living or dead, of his time?  There has always been a cultural phenomena with The Grateful Dead, that actual scholars have dissected with differing opinions.  While the intelligentista muddle over this, the real question should be why there are millions of other people in their twenties, who have never traveled with Jerry era Dead, writing, listening to, or discussing, Jerry Garcia, as this sentence is so poorly typed.
      There is a clear difference between Jerry Garcia and his colleagues: this man was no rock star.  He lived a comparable life; filled with the sex, drugs, and music.  His attitude was different, however, then the demigods he would share the stage with.  His humanism is what makes him a prophet.   With his vices, insecurities, and drawbacks, he embodied the antihero, like the Steinbeck protagonists he admittedly grew up adoring.  While the rest of the world chose to sing-from-the-mountaintop, light their guitars on fire, and display their fictitiously massive bulge, Jerry kept his frail yet mischievous eyes on his guitar and microphone.  The juxtaposition of Jerry is what makes him so goddamn likable.  His is honesty personified: real person in an industry full of idols.  He walked the line between happy and flawed, and it showed in his emotive playing.  This would also reflect to the audience, who most likely saw themselves in Jerry.  All the world, multiple times throughout their lives, caroms from megastar on stage, to thin voiced muse.  Like Jerry, we are all weak, but possess the capabilities to be transcendent, and that is why we will never get enough of him.  Rest In Peace, Jerry.  You changed more lives than you ever planned on.

Phish: Chicago 94

     Opinions are abound in the spectrum of Phish, but few would argue that 1994 was one of the band's most critical years.  The band racked in 125 shows, and were full throttle on the way to cult superstardom.  It was at this point when it was evident to both personnel and fans alike that the band would pursue this as a career, and that Phish would be around for the long(er) haul.  The band felt this energy multiple times in '94, as evidenced by Chicago '94, a two show box set documenting Phish's debut performance at what would soon become one of their favorite venues.

     The setlist is notable, as they performed many songs off of Hoist, the studio album released earlier that year.  Phish turned these songs, and others into marathon jam vehicles, though it should be noted that only one song, the quintessential "You Enjoy Myself," stretches past the 20 minute mark.  This may be a minor detail to some, but it highlights the bands ability to push their sound without adding extraneous scale running.  The songs, however, do get the treatment, and in a big way.  Throughout the two shows, which are pretty comparable in mood, the band plays around with discordant chaos, which eventually finds their way into a heavenly, cohesive groove. They hit their high note stride with the energetic "Run Like in Antelope," which many would say have seen it's best day in 1994.  The highlight of this example would be the epic "David Bowie," an 18 minute exercise of sonic dissonance, which many fans say is the band at its best.  All the jamming is organic and original, and many would find the lack of looping ambiance, which would later be a staple of their live shows, a pleasant change of pace. 

     Many fans will note that these1994 shows are devoid of the running gags of the past, such as the Big Ball Jam or the Phish Secret Language.  This is a clear representation of where the band's priorities lay during this period of time.  They were dropping the gimmicks, and allowing the music to be the punchline.  A year after the first concert on the album, in June of '95, the band had a historic meeting to discuss how far they really wanted to push this project.  These shows reveal that, that even before the meeting, these boys were all in.  

     One thing that should be noted is how fun-spirited this show is in context of the band's history.  In 1994, the band was quickly becoming financially solvent.  They were beginning to book shows at outdoor amphitheatres, now in all areas of the country, and they were barreling towards the finish line of success.  They were playing without the worries of where the band would go.  It is just fun; a band on stage clearly enjoying themselves.  Conversely, they were still two years away from their historic festival, Clifford Ball; the moment that led them to exclusively play arenas, and the catalyst to Phish INC.  It was still in age of innocence in 1994, lacking the overwhelming burden of an entire enterprise resting on four hippies from Vermont.  Also lacking is the bacchanal of backstage hanger-ons who would eventually aid to the band's 2004 demise.  The business side of Phish was still run by in-house friends who cared about the band, and the people in it.  Once again, it is just fun!  It is a band on stage playing out of love, not worried about the overhead of what would soon become a pretty big corporation.   The good spirits are palpable throughout the album, and provides a shining example of what makes this band so damn great!

A. Tom Collins

     

     Last week I was lucky enough to attend the Westword Music Showcase, a Denver music festival highlighting the prolific scene in our city.  While I have always considered myself pretty informed about many local genres (Bluegrass, Jam/Improv, some electronic) I was unaware how many great bands are in this big little city.  One local band that particularly impressed me was A. Tom Collins.  A indie label Americana band, though any genre interpretation should be loosely interpreted.
     The Denver Quintet sings about fast topics;  drinking, drugs, and vices in general.  Typically, this act is tired and contrived, but these guys sound as authentic as an old scotch.  They seem to really live their songs, and live their music.  Though the lead vocalists bar room warble, the songs turn into stories of the band's revelry.   The horns and piano make for the perfect setting for saloon style merrymaking.  As I listened I could imagine myself very drunk, drunker than I was, throwing my arm over the shoulders of my friends, singing and swaying along to the music.  Though the instruments are classical, the band played hard, the pianist headbanged as he tickled the ivories, and the trumpet player stumbled around as he ferociously belted out his notes.  Their exhausted, but resilient energy enhanced the raw unpolished sound of the band.  A. Tom Collins is a gritty band, and as they waled "Fuck the Pretty People" as they closed their set, they are happy that way.

Sorry I can not write more thoroughly on this band, as I have very limited experience with them.  Hopefully I will learn more.

Beachwood Sparks: The Tarnished Gold.

    

      Sub-Pop records has a long history of producing great acclaimed, albeit finicky, artists.  The production of greatness is often met with heavy frustration, which is probably why so many of the label's artists release albums so sporadically.  Beachwood Sparks, an L.A. based alt-country outfit, is a prime example of this.  After disbanding a decade ago, quietly reuniting, then fading away, they have finally released another LP, The Tarnished Gold.
     It is hard to pigeonhole Beachwood Sparks' genre.  It is definitely country, but filtered through psychedelia.  The Tarnished Gold follows this formula, combining folksy and psychedelic twangs into beautiful little songs.  The breezy acoustic based tunes make for an accessible listen for all levels of listeners.  The songs are thin and delicate, and those looking for instrumental depth and texture may need to look elsewhere.  The Tarnished Gold aims, and hits, their mark of keeping their sounds as organic an unpastuerized as possible.    From time to time, however, the album deviates from its norm, most notably on the tongue-in-cheek "No Queremos Oros," which would fit in at the most authentic Mexican Cantinas. 
    In seemingly typical Sub-pop fashion, Beachwood Sparks have no deifnitive plans subsequent to the release of this album.  Whether or not they will pursue this project or not is still up in the air.  For now, fans of this band, and their space-cowboy melodies, can take comfort in The Tarnished Gold, even if is nothing more than a pretty epilogue to the band. 

Smashing Pumpkins: Oceania

     

     When I was 11 years old, I went to see The Smashing Pumpkins at, what was at the time, the Rosemont Horizon.  It was an amazing show,  and seeing that concert set me on track for a life obsessed with music.  In the past eighteen years, The Smashing Pumpkins have gone through more stylistic and personality changes than myself.  They have gone through drugs, disbandment, re-bandment, and megalomania.  Like a cat with nine lives, the band has always seemed to hang on by a thread, making albums highlighting lead singer Billy Corgan's ego, and downplaying his true talent as a grunge music with an auteur's sensibility.  After several vein attempts at relevancy, Corgan and crew have released Oceania, there best effort in well over a decade. 
     The first thing listeners must do, is accept the fact that they glory days of The Smashing Pumpkins have passed, and this is more of a Corgan side project, as he is the only original personnel.  Once preconceived notions and judgements are discarded, the listener will be able to enjoy a good rock record.  For Oceania, Corgan opts to not go off on a new tangent, but try to recapture his vision of Smashing Pumpkins.  The album swirls of powerful alternative guitar riffs, blended with textured symphs and synths.  Corgan also throws in his obligatory sweet songs.  Oceania seems to pay special attention to ensure all band members are represented; a clear effort to make a cohesive record, and more importantly, band.  What Oceania lacks in artistry, is tries to make up for in moxie.
     After several long years, and several pedestrian albums, Corgan seems to have found a level of comfort in his new band, and that comes through in Oceania.  The future of the Pumpkins is ambiguous to say the least, judging from the incessant member changes, but for now they can take solace in respectable album.  I, nor the world, feel the same way about the Smashing Pumpkins as that night at the Rosemont Horizon, but Corgan is working on changing opinions.

Japandroids: Celebration Rock

     

     In 2009,  Japandroids, a post-punk duo from British Columbia, released Post Nothing, their debut album.  Although critically acclaimed, the band decided not to proceed with the band, as the band was seemingly going nowhere, at least on a commercial level.  After three years of recuperation, the band reunited to record Celebration Rock, another masterful showcase of their lo-fi talents.
   The album appropriately opens with booming fireworks; a foreshadowing of the exploding punk to come.  The album portrays the organic maturation of Brian Prowse, and David King (Japandroids respective members), both in musically and personally.  Celebration Rock still has songs about drinking, smoking, and girls, but have more conceptual lyrics about coming into adulthood.   The high energy rock wallops the listener of youthful energy, but the lyrics tactfully describe the mid-twenties slow journey into self-actualization.
     Celebration Rock's gritty musicianship provides for some harsh continuity, but for this type of garage rock, it is easily forgiven, and accepted.  The jostling progression of Celebration Rock, combined with the intentional lack of overdubs provides a natural sensation that the current indie scene severely lacks.  As the album ends, and the same fireworks now bookend Celebration Rock, it has become apparent that, for these Canadian rockers, the sky is the limit.

Peaking Lights: Lucifer

     Coming off an amazing debut, Peaking lights return after a short hiatus with their new LP, Lucifer.  Lucifer evokes the same emotion that Peaking Lights have striven for.  The album walks the fine line between energy and languidness;  bubblegum pop, and extreme psychedelia.  The Wisconsin based duo continue to the push the envelopes of "simplicity" by creating beatific songs out of electro blips and reverb heavy vocals, courtesy of the female half, Indra Dunis. 

     Musically, the two take what they did on their debut, and slightly expound upon it.  Meaning, that Lucifer sticks predominantly to its electro-pop roots, but shows off some pretty, dub, branches.  Later in the album, the band experiments with blending those dub beats with club style high-end to create quite an original sound. Peaking Lights also continue to show off their spacey side with tripped out pseudo-melodies.  The result is a sound that moves both the head, and the ass.

     Right now are some tough times for the electronic music scene, as low end dubstep has overrun a scene once commanded by intelligent music nerds.  Fortunately, their are still projects like Peaking Lights are still hovering below the mainstream surface willing to create well-crafted subtleties such as Lucifer.   An album like Lucifer shows that electronic music can still be emotive and heartfelt.

Chris Robinson Brotherhood: Big Moon Ritual

    Chris Robinson is deceptively prolific for people who do not know him.  Those only familiar with his work, and tenuous relationship, with the Black Crowes, are missing out on his extensive catalog of work outside the group, including solo work and super groups.  In the past two decades, Robinson has taken his musical proclivities from Twangy pop rock to blues. Now, armed with his new band Chris Robinson Brotherhood, he releases the sprawling psychedelic masterpiece,  Big Moon Ritual.  

     Big Moon Ritual takes Robinson and crew even further from the commercial mainstream he entered into.  The songs are extensive and thick with southern drawl....and funky, REALLY FUNKY.   The basic facets of the songs are catchy, but he parlays the tunes into extensive guitar solos and jam sessions.  Brother pays homage to his classic rock idols while still showing Robinson's  own taste and style.  Robinson uses his wailing vocals and in instrument, leading the charge in the swamp tour-de-force.  Lyrically, Big Moon Ritual is pretty par for the course: thoughtful and poignant without being overly deep and heady.  The result is perfectly matched, as it is Robinson's howl combined with the music that gives Big Moon Ritual is pathos.  

     It seems that Chris Robinson has decidedly opted to shy away from the commercial norm to release Big Moon Ritual, a collection of his personal tastes and influences.  Doing so he has released one of his finest works to date.  After twenty-three years of experimentation, Robinson emerges from the Southeastern bogs with a truly sensational album, full of interminable psychedelic funk tunes.  Big Moon Ritual is one of the greatest albums of Chris Robinson's career, and one of the top albums of 2012.

Edward Sharpe and the Magnetic Zeros: Here

     

     Few bands capture sixties folk idealism better than Edward Sharpe and the Magnetic Zeros.  The group, led by frontman Alex Ebert, has made a career out of traveling across the country singing happy songs the masses.  As cheesy as Edward Sharpe and the Magnetic Zeros may sound, and they do, the band knows how to craft a well written song.   With the release of their latest, Here, the group of merrymakers continue to their message of love to world by penning painfully catchy tunes for the world.
     Those looking for avant-garde, or particularly innovative music, need not look to Here.  The thematic premise of the album, and the band on the whole, is pretty on the nose.  They are not trying to blow  minds, but rather to open hearts. They make sing-a-longs about love, happiness, and dancing.  The themes are cliche, but the band, and the listeners, are aware of that.   While listening to Here, it is necessary to take the band at face value. 
     Musically, Here expounds on the same basic tenants of it its predecessor.  All the elements of a giant jam session are in place, although in a smaller degree. The band lacks the huge, messianic, moments of Up From Below, and there is a noticeable lack of opulent musical swells and crescendos.  The result are tunes, that are more relaxed, but also more forgettable.  The more laid back vibe of Here, however, shows Ebert coming into his own as a frontman of a massive band, and clearly becoming more comfortable in his position, and his approach.
     Here is not full of surprises; fans know what they are getting when they press play on a Edward Sharpe album.  Those who are willing to put indie rock pretentiousness aside for a listen will reap the reward, being happily lost in the blissed sounds of a happy band of gypsies. In today's world,  love is NOT all you need.  Thanks to Edward Sharpe and the Magnetic Zeros, though, we are reminded that it is a part of it. 

    

Sigur Ros: Valtari

     Sigur Ros likes their music slow.  Since the bands acclaimed debut over a decade ago, the Icelandic outfit has made an art form out creating soundscapes that saunter on forever.  The groups lack of sound has become their modus operandi.  With there latest effort, Valtari, Sigur Ros takes their spatial sound to new heights, with mixed results.
     The success, and downfall, of Valtari, is that it has all the elements that makes Sigur Ros a creative band, just in smaller doses.  The subtle electronic hints and wistful melodies present throughout the album, and their towering crescendos are present, most notably in the song "Varou." Orchestra sounds and reverbed voices add depth and mood to the sparse instrumentation.
     The album does, however, feel forced and trudging.  Perhaps fans have become greedy with the slew of indelible albums Sigur Ros has released throughout the groups illustrious career, but this album lacks all of the respective qualities of their previous efforts.  It lacks the haunting beauty of something like  (), but too listless to have defined song structure.  The album clumsily bounces from ethereal to substantial.
      Valtari shows Sigur Ros making a valiant effort within their catalog of music, but lacks the direction to be a great album.  While not a bad album, nothing about Valtari stands out, and seems destined to be lost in a sea of ambient noise.

MV & EE: Space Homestead

     Folk Rock is nowhere near as cut and dry as those on the outside, unfamiliar with it, would think.  As musicians become more experimental and open-minded about their influence, the genre is no longer an acoustic guitar strapped over the shoulder of a politically minded crooner.   One offshoot of the folk movement is the formulation of the freak folk movement, where the traditional folk sensibilities are washed in effects, adding an ethereal quality of the songs.  A prime example of this is Vermont folksters, MV& EE, and there latest effort, Space Homestead.
    Space Homestead is a very fitting name for the album, as the entire album is sweet comforting vocals,matched with acoustic guitars,  then laced with psychedelics effects.  The result is the best of both worlds, an atmospheric journey, and cheery sing-a-longs.  The album allows the music to flow into uncharted waters, but is still tethered by melody.  Think less Bob Dylan, more Neil Young.
     Towards the second half of the album, Space Homestead enters darker territory, albeit following the same basic MV & EE formula.  The song " To Far To See" has a much gloomier tone than its predecessors, and has a relatively cheery mood before going into a bold, fuzzed out, guitar solo.  Even these  melancholy songs are enhanced by the thick psychedelic guitar, and subtle vocal reverbs.
     Space Homestead is not for everyone.  As previously stated, it may not be as simple to the listener as typical folk artists. Those who listen to the album must be ready for the layering and instrumentation of a full band, rather than a duo.  Those who are willing to put up with the slow lilting sounds will be rewarded with an enjoyable journey through a solid languid folk album.