Sound Decisions

Moving to Tumblr, dudes

2010-03-02T18:07:00.000-08:00

I've decided to give up on Blogger. I don't want to be confused with the illegal/crappy mp3 blog culture here, and I feel like Tumblr is more "healthy." It feels empty/fake around here, and I'm lonely. Also, I'm tired of AdSense.

Still figuring out what I want my blogging experience to be and where I want to fit in internet culture. I want to write more, and not just via the (archaic?/irrelevant?) music review format. I feel tired/vexed by people who ask me to publicize their poorly-made music. I want to find some way to combine my webself as a musician and my webself as a writer/student/cool guy. All this felt like a perfect storm.

Sometimes I'm afraid that I don't know how to utilize the internet. Sometimes I feel really intimidated by it. I get the sense that there will eventually be a "Web Recession" once the last pre-internet generation dies off. Will it be a good thing or a bad thing that everyone is online, all the time?

This is the kind of stuff that I want to begin to explore/write about. I will still talk about music, but expect everything to be more personal, less journalistic, and more "Web 3.0." Until I get moving on Tumblr, follow my tweets @joshhungate.

Thanks very much for reading, and I'll see you on the new site :)

Brooke Dainty

2010-02-23T16:02:00.000-08:00

Last week my old friend Brooke Dainty asked me to write a music review for her personal/photography blog. So I did! The band is Beach House, and you can check it out here. Brooke is a photographer, and an excellent one at that. If you need a tasteful, affordable photo session in Springfield, MO, look her up!

Tune in next week, when I'll be reviewing Local Natives' Gorilla Manor!

Local Natives - Gorilla Manor

2010-02-21T19:59:00.000-08:00

Being a music critic requires the ability to form a fairly concrete opinion and evaluation of a band after a single listen. Consecutive play-throughs are necessary to assemble supporting details and descriptive elements, but I've found that my final verdict often ends up very similar to my initial reaction. I think this has less to do with the actual listening process than the thought process of "deciding" whether or not I like a band.

When I first listened to Local Natives' Gorilla Manor, I was decidedly unimpressed. The group's high, mellow harmonies sometimes contrast starkly with their odd hooks and flitting melodies, which led me to process their sound as over-eager and immature. Meanwhile, songs like "Sun Hands" and "Cards & Quarters" feature very unusual phrasing and melody, but without the foreignness and spectacle of Grizzly Bear or the folk sincerity of Fleet Foxes.

"World News" is what changed my mind. The song's conversational lyrics and approachable melody make it the most down-to-Earth song on Gorilla Manor. It escalates comfortably into a soaring and satisfying vocal climax, a feat that recurs frequently on the rest of the album, especially in the intimate, orchestral "Who Knows Who Cares." While these two songs may be the most "traditional" pop-sounding tracks on the album, they open the door to more open-minded works like "Camera Talk" and the exquisite "Cubism Dream."

Ultimately, the reason I misjudged Local Natives was the fact that I didn't see them as a "name-brand" group, like I would a Vampire Weekend or Animal Collective. This is easy to do with a new group, but it relegates their music to being interpreted as derivative or irrelevant, regardless of inherent value.

The truth is, Local Natives are outstanding newcomers. Their instrumentation is varied but not distracting, and their arrangements are logical, dynamic, and effective. A strong follow-up album that expands on their existing aesthetic under a more diverse song base could be what pushes them over the edge into indie stardom.

Midlake - The Courage of Others

2010-02-15T16:37:00.000-08:00

Midlake's The Trials of Van Occupanther was the first album I reviewed on this blog, and it's still one of my all-time favorites. There's something so deliciously mild about it that few other bands can manage. As a sophomore album, it does everything it should: it makes up for a less-than-stellar debut, builds a musical brand, and sticks to what it does best. After four years of recording, Midlake's latest release, The Courage of Others, marks a perfect third point of maturity for the band; in it we hear a group of artists with a clear vision and focused expression creating a triumphant, one-piece album.

Much has changed since Occupanther. The central role of piano has been usurped by flute, giving the songs an older, dreamier feel. As a whole, Courage has an ancient, almost Tolkien sensibility; although Midlake have never been a feel-good, summer band, it's clear they've escalated their rural-rock motif to one of full-blown gothic blues. With Occupanther, Midlake was widely compared to Fleetwood Mac, but now King Crimson seems more apt. This shift to a more European sound isn't completely out-of-the-blue--Midlake first achieved exposure in England in the early 00s.

Lead singer Tim Smith's lyrics, still opaque as ever, take on a mystic quality completely suited to his voice. His singing style is one of the most obvious holdovers from previous albums, and remains relatively unchanged. In addition to the typical double-tracking, however, some new songs include a female vocalist, perfectly contrasting the overall dark tone of the album.

Courage's intended atmospherics are apparent with every listen. While keeping much of the same melodic mindset, the band's arrangements and style choices are far more cohesive. Each song feels justified, like it belongs there. There is little incentive to skip tracks, since they all blend so well together. In the case of most other bands, such a balanced sound would come across as bland or repetitive, but when executed this tastefully it counts as a compliment to the group's artistic expression. That level of unique expression is evident throughout the album--the glowering, scorched guitar solo in "Winter Dies," the shift between 7/8 and 6/8 time in "Core of Nature," the deliberate, ominous opening of "Rulers, Ruling All Things," and the countless perfect harmonies on almost every song.

Although I'm not sure The Courage of Others will ever replace Van Occupanther as far as my iTunes play count is concerned, it makes many reassuring technical strides that not all bands care to make. A sequel would have been too easy for Midlake--instead, they had in mind an evolution, broadcast through a separate style altogether. The pendulum is in full swing. Unfortunately, this sets a difficult precedent for any future albums they make: can they re-imagine themselves again in service of producing a great recording? If their developments so far are any indication, the answer is yes, although it might be another four years in coming.

Yeasayer - Odd Blood

2010-02-10T13:25:00.000-08:00

The definition of “yeasayer” is “a person with a positive, confident outlook.” While this can certainly represent the attitude of a young, talked-about band, it’s also strangely fitting of their music. The songs on Yeasayer’s second album, Odd Blood, aren’t as clean or catchy as work by contemporaries like Passion Pit or MGMT, but the overall mood is just as bright underneath. The band’s Myspace page lists their genre—perhaps honestly—as visual/gospel/showtunes.

With Blood, Yeasayer excels in blending eclectic, rhythmic backing arrangements with relatively sensible vocal melodies. On an album this chaotic, though, it’s hard to make a more specific description of the group’s mentality. The artists clearly went out of their way to create a dynamic experience for the listener, utilizing vocal distortion, time signatures, and often downright strange elements to keep the element of surprise. This exploratory attitude lends itself to longer arrangements (50% of the songs play past the four-minute mark); the creativity is appreciated, but at times the pacing suffers, as less-interesting songs get drawn out with unexplainable riffs. There’s often not enough musical footing for the listener to navigate the album’s surreal, shifting heights.

Standout track “O.N.E.” showcases the band at full stride. A stream of alternating syncopated beats echo over an ever-present kick drum, while simple, searing lyrics (“Hold me like you used to, control me like you used to,”) float over an arrangement that phases between dance and contemplative pop. “I Remember,” the clearest song on the album, shows that Yeasayer are completely capable of recording eminently listenable music. The lyrics are almost always clearly defined, reinforcing the welcome mindset of vocals being the backbone of the band’s music, around which the complex instrumentation can be built.

Although Odd Blood proves that Yeasayer is anything but derivative, it also shows that a sophomore album should do more than expand repertoire—it should distill the group’s sound into a recognizable brand. Music should be unique by virtue of coherency, rather than by using broad attitudes of experimentation. Expect to hear good things from Yeasayer as they continue to mature in their development as a band and pin down that positive, confident sound.

Vampire Weekend

2010-01-30T23:16:00.000-08:00

"In December, drinking horchatas," sings Ezra Koenig on the opener of Vampire Weekend's new album, Contra. The light, syncopated melody fizzles out any lingering remnants of the day's past playlists, and you're hooked. The marimba, of all things, takes center stage, and then the brash drum line, accompanied by the epic "Whoa, oh oh, oh oh, oh oh," chorus belter. "Horchata" harkens back to a similarly early-in-the-year game changer Merriweather Post Pavillion and its lead track "In The Flowers." Both songs set the stage for the rest of their bands' respective albums, and like MPP did in 2009, Contra has already set the bar high for the rest of the year's releases.

Vampire Weekend, once merely fledgling indie starlets, have in the space of one album progressed to full-grown indie rock standard-bearers. Their self-titled debut, while snappy and unique, lacked subtlety, drive, and dynamics. It offered a rough sketch of what was to come later: an inventive lead singer, unique melodies, and energy, energy, energy.

Stylistically, Contra is a growth, not a shift, in the band's philosophy. Among the few subtle changes, Koenig's voice seems more intense, and his timbre is a bit deeper when it needs to be. The use of guitar is not as jarring as before, and the instrument takes on a supporting role to the keyboards, synths, strings, etc. Unfortunately, the group's drive for something new sometimes escalates into overboard expressionism; occasional melodic subtlety is often lost under broad strokes of careless layering in an attempt at depth.

While the band still owns the evolution of its unique sound, it's clear that some outside influences have played parts in their development. "California English" resembles a ramped-up version of Dirty Projectors' "Temecula Sunrise." (Koenig's high, sometimes-yelping voice already compares to DP's Longstreth.) Ezra may also have taken some inspiration from The Very Best after being featured on "Warm Heart of Africa," giving "Horchata" its contrasting electro/rustic beat with marimba overlay.

Contra ends with a slow and tender, surreal epic: "I Think You're A Contra." The song is a rare simplicity in an album of dense arrangements and even denser lyrics. But despite its apparent restraint, "Contra" has a grandness--a sizeable mass that is sometimes lacking in VW's songs. This might be the most literal aspect of the group's development: that they have risen from trite to tangible, from a style that's present to a style that's omnipresent.

Chiddy Bang - The Swelly Express

2010-01-19T11:38:00.000-08:00

There's something about the idea of a hip-hop concept album that immediately appeals to me. And if it's a debut, packed with tasteful samples and creative flows, then all the better. The Swelly Express is the tale of a group of striving college-ages and their experience breaking into the music scene.

Musically, these kids couldn't be more ready to break out. I can't think of anyone else who could go from sampling this to Sufjan Stevens to Joe Strummer to MGMT all on the same album, twisting and molding their featured songs into completely new melodies. Refreshingly, there's no underlying booty thumping, dancehall drive present, and no beyond-sick spits or turntable radicalism either. Chiddy's front man Chidera Anamege seems to deliberately circumvent the typical rapper tropes, leaving out the trite verses about cars, money, ho's, and the ubiquitous hard-knock past. It's a sign of our times that rappers are writing about working hard and not hard times.

It's hard to talk about a major rap album without mentioning collaborations, and while Chiddy Bang don't have options like Timberlake (guests on every track, producers playing musical chairs), the collabs they got stand out. Fellow east-coasters like Passion Pit and The Roots' Black Thought add some appreciated sparkle--the Pit track is one of the album's highlights. It speaks to Chiddy's talent that their song-making unit is so self-contained.

I could write an entire post just quoting Anamege's best rhymes--rest assured, Express is full of genuine chops. With a group so young it's hard to tell where they'll go next, but they'll definitely go far. Even in today's brimming musical landscape, it's plain unhealthy for labels to skip over talent like this. But for now, it's not too late to get on board The Swelly Express.

Le Days

2010-01-17T12:46:00.000-08:00

Having a music blog allows me to share with others the bands I've been listening to. This benefits all parties, bringing more awareness for the artist, more readership for me, and more content for the reader. Occasionally this works in reverse, as people tell me about new artists and I can use my platform to spread the word. This was the case with Daniel Hedin and his project Le Days.

Let me get this out of the way right off: Le Days is about as indie as it gets. Don't listen expecting major label-perfect recording quality and polish. But in the case of Hedin's music, it's hard to imagine what he would sound like in the context of a fleshed-out studio band. Whereas many indie musicians falter when they try to reproduce the pop standard, Hedin sings with a deliberate lack of spit-shine.

It's incredibly easy to make crappy recordings and call it an aesthetic choice (lo-fi might as well be called "the Myspace genre"), but what separates good lo-fi from standard internet drivel is the level of authenticity behind it. The best recordings use the available equipment to reveal talent, not hide it. And even he's still just working on his debut album, it's clear that Le Days has some real talent to work with.

Like so many indie bands, Hedin's style is difficult to pin down, but that's not a bad thing. Vocally, there's a definite resemblance to the higher-pitched folk orientation, e.g. Ryan Adams or Justin Vernon. Lack of quality singing is a huge dealbreaker for me (and should be for you, too), but unlike many Myspace artists I've listened to over the years I had no problem with Hedin's voice. For the most part he's emotional, subtle, and piercing. Instrument-wise, Hedin has a taste for dry, sparse acoustic arrangements, which gives his music a nervous, sometimes spooky quality, totally fitting with his lyrics. Standouts like "Blood Red Heart" and "Paperclips" are personal and creative enough to define his own unique style.

Although the ten songs on Le Days' Myspace aren't typical radio-ready fare, they're worth listening to if you want to get into indie's more obscure, exotic side. Hedin's project is currently in the mixing stage, but the songs on his profile are probably close to what the final cut will be like. You can also check out his videos on YouTube if you want a closer look.

If you would like me to write something about your band or album, email me at joshhungate@gmail.com. Thanks!

Faves

2009-12-31T13:06:00.000-08:00

In lieu of an actual "job," and with gigs few and far between, I like to think of myself sometimes as not only a professional music-creator but a music-listener. If music is a language, then the conversation requires listening as much as vocalizing.

I can still remember a time (during this decade!) when I wouldn't dream of listening to any particular song in pursuit of my own personal enjoyment. Now I've realized, of course, that good music is one of life's greatest pleasures. I've doubled in age in the last ten years, but the increase in musical exposure has been astronomical.

So, since I don't feel qualified to pick the best albums of the decade (you can go here for that), I do want to share with you my favorite albums of 2009. I could probably write six paragraphs about each of these, but since we're running out of time in the year, I'll keep it short.

10. Neko Case - Middle Cyclone

Ghostly, driven, and moody are not typical country music epithets, but Case definitely earned them, along with her Grammy nom for contemporary folk.

9. Miike Snow - Miike Snow

Somewhere in the bedlam of brash blips and beeps of '09, Andrew Wyatt found a home for piano-driven electropop, and he couldn't be more welcome.

8. The Very Best - Warm Heart of Africa

With a name like The Very Best, most would expect the opposite. But whatever you want to call the kind of music these fellows put out, there's no question they're the very best at it. With a little help from ingenious synths (and special guests Vampire Weekend's Ezra Koenig and M.I.A.) TVB make African chants into irresistible hooks.

7. Passion Pit - Manners

Don't be afraid to delve deeper than "Sleepyhead." This album is filled with gems that sparkle almost as much as it's dazzling choruses, especially once you realize that Michael Angelakos' vocals are more enchanting than chipmunk.

6. Lady GaGa - The Fame Monster

If I had a dollar for every time I've underestimated the talent of a female pop singer, I'd have one dollar, which I earned from hearing "Bad Romance" for the first time. It's remarkable that an album so danceable, so glitzy, can be equally dark and enchanting. And having the best music video of the year (or decade!?) has gotta count for something.

5. fun. - Aim and Ignite

Never has a band name so completely described their appeal. It's indie pop Sesame Street, with a dash of Queen and a pinch Beach Boys charm to taste. Soaring, gleeful, personal, and infectious.

4. Phoenix - Wolfgang Amadeus Phoenix

I liked these guys before they were cool. Key word: liked. Now, with WAP released and renowned, it's a full-blown love affair. They've got the indie pop trifecta down pat: fun, foreign, and famous. Right when you think all the catchy songs have already been written, along comes a tune like "1901," and everyone puts their headphones back on.

3. Dirty Projectors - Bitte Orca

The term "entry-level" is thrown around a lot in music circles, regarding a band or album's "listenability." But while sophistication and detail don't always translate to increased enjoyment, there's something to be said about music that forces you to process a little faster than usual. Dirty Projectors probably aren't something your tweenage cousin is guaranteed to enjoy, but they are enjoyable nonetheless. Projector's true genius, however, isn't in their complexity but in their ability to make great, resounding songs over top. Orca is the culmination of a search for balance between intricacy and accessibility.

2. Grizzly Bear - Veckatimest

In an arena constantly filling with newcomers, Grizzly Bear are quickly becoming the "new favorite" of broad-listening music critics, and Veckatimest is their masterpiece. The album is filled to the brim with grandiose swells and gloomy, sometimes unsettling creases. I first listened to the CD in my friend's car, and I felt almost crushed by the weight of it. Now it feels more like a heavy blanket to get lost under, dark and comfortable.

1. Animal Collective - Merriweather Post Pavillion

This album is my generation's Kid A. It made me look at music a different way, and changed the way I enjoyed it. Few other groups devote so much effort to creating tension and resolution in their music than AC. As wave after strange wave of sound washes over you, there's an unbridled joy to be felt wondering what will happen next, or simply in expectation of it if you know what's coming. MPP isn't just a work of art, it's a challenge. "Listen to this," it says, "And then do something new." The ripples are just beginning to take shape, but I expect it will be up to Animal Collective to create the next lofty step.

Passion Pit - Manners

2009-12-28T21:28:00.000-08:00

Every once in a while an album comes along that just kidnaps your ears for a while. I try to remain in this state for as long as I can each time it comes because I hate the periods of disillusionment before and after. When each raid ends, I'm left salivating for my next fix. Sometimes I'll even set aside bands to look into later, when I need them, judging only by their reception on blogs. Passion Pit was one such band.

"Sleepyhead" was the first slip down the still-steepening slope for me. It came at the perfect time. I had just recently started to rebuke Owl City, but I still had the itch for catchy electro. My taste for high-pitched male vocals was, and still is, at an all time high, thanks to Animal Collective's recent EP and Dirty Projectors' Bitte Orca. Pit hit me in my weak spot.

Don't think of them as passing-phase material, though. I haven't heard electronic so diverse since Kid A. And then the bass drum kicks off on "Eyes As Candles" and they're pop. Vocal melodies are difficult to make energetic without sounding trill and stale, but that's just what you get here. Manners pulls double duty: appropriate for semi-contemplative listening or merely an everyday soundtrack.

All Music, All Blogs

2009-11-22T07:35:00.000-08:00

My blog's been featured on All Music, All Blogs -- a blog that attempts to list and categorize every (notable?) music blog. Check it out if you're looking for more to add to your feed, or at least read the little blurb about me.

http://music-favourites.blogspot.com/2009/11/sound-decisions.html

I promise to stick to my two-posts-a-month schedule, don't worry. It might come down to the wire though. Since I've been reviewing new stuff lately, expect to read about an oldie-but-goodie next time.

John Mayer, Battle Studies

2009-11-18T13:26:00.001-08:00

John Mayer is the love of my life. Okay, not really, but I like him a lot. I've been more excited about his next release than any other album this year. Continuum was nice and meaty, but very open-ended, like Mayer still had much, much more to say. In some ways, Heavier Things was the answer to Room for Squares. Similarly, Battle Studies is Mayer's answer to Continuum. And it feels good.

The lyrical content of Battle is a clear departure from Mayer's previous, more philosophical writings. Most of the songs deal with relationships, unlike the heart-and-soul anthems of his previous releases. You could definitely say it's a break-up album. Mayer has always had a playful tone to tap into when he needs it ("My Stupid Mouth," "83"), tempered with a cutting melancholy ("Something's Missing," "Stop This Train"). Here there's less wit and more prodding wisdom, and lyrical hooks just vague enough to draw you into the songs. Nothing too deep for a pop song, and nothing too trite either.

Musically, the album is just what you'd expect. John Mayer cements his position as the most (or only?) tasteful guitarist in mainstream pop, and one of its most clean and dependable male vocalists. I've always regarded his work as "worry-free listening": no need to worry about sudden odd riffs or weird song structures. Although there's nothing that quite tops his live performances in Where The Light Is, and nothing as intense as Try! or Heavier Things, Mayer's guitar solos are undeniably satisfying. The production values are stellar, and Mayer's studio musicians leave nothing to be desired.

After Mayer's blues venture took me by complete surprise, I wondered how it would affect his pop career, if he even chose to go back. Well, he did, and he's sounded a little more soulful ever since. He even covers Robert Johnson's "Crossroads," the only true blues song on the album. After featuring Hendrix's "Bold As Love," on Continuum, I'm wondering if covering another guitar master is something we can look forward to on Mayer's next album.

Although most of the album is very polished and mature, Mayer's not exempt from making a few unusual (but forgivable) creative decisions. For one, Taylor Swift sounds very out of place on "Half of My Heart." John Mayer's singing is like shepherd's pie: it doesn't need a country starlet side dish. And throwing the word "shit" into "Heartbreak Warfare" doesn't make John a better, edgier songwriter. You'd think he would have learned after the almost comical "damn" in "Bigger Than My Body."

When I was listening to this album for the first time, I was looking for ways it would be different from Mayer's previous albums. I was expecting it to be revolutionary, but after a few spins I realized that I only wanted it to be consistent. John Mayer certainly expands his style, especially with songs like "Assassin" and "Who Says," which are two of the album's best, but the core Mayer goodness is still there in force. I'm not ready for a polarizing Mayer experience yet; maybe in a year or so we'll see him start experimenting more, but right now I'll take whatever he's giving.

Freelance Whales - Weathervanes

2009-10-27T12:36:00.000-07:00

Sometimes I get the feeling that many people underestimate the importance of having a good band name. In the 21st century overload society a bold, funny, or just plain unusual name can be the difference between a band that goes viral or one that flounders in obscurity, especially for indie would-be breakouts. Odd and audacious band names have become a trademark of indie as a reaction to mass-marketable mainstream pop, but also, I would argue, because of the rampant saturation of the internet marketplace. Obviously a group's music is itself a differentiating factor from competitors, but with radio play out of the question, the task of grabbing a potential listener's attention can come down to the band's name, especially in word-of-mouth, grassroots marketing situations. It's literally impossible to listen to every worthwhile band these days, even with all the blogs, music videos, and internet radio services available, which is why I'm so thankful that Freelance Whales, a new, relevant, group bursting with potential, had the good judgment to choose such a memorable moniker that ultimately led me to give them a listen.

Weathervanes, Freelance Whales August 2009 debut album, is surprisingly polished and articulate for a band that's only existed since 2008. Their sound is already definite and constructed, and yet weaves together disparate elements and instruments with a flair not unlike Mr. Sufjan Stevens. You've got banjo, synth, glockenspiel, harmonium, cello, and whatever a waterphone is. Don't question the variety, though; it works. Judah Dadone's vocals are gentle and sublime and subliminal, and you get the impression that he has legitimate singing talent, not just on-record sound, which is dishearteningly rare these days.

"Generator ^ First Floor" and "Generator ^ Second Floor" are the "reference points" of the album. Both showcase the band's skill for intricate arrangements while maintaining an eclectic drive. "First Floor" sets the mood for the rest of the songs, and "Second Floor" comes second-to-last to draw the elements back together again in recapitulation. There are a few instrumental tracks interspersed between the other songs; normally I have a pretty low tolerance for that (Phoenix are an offender, as are Muse, Coldplay, The Killers, and even the sacred Neutral Milk Hotel). If an individual track cannot stand on it's own, why include it at all? But at least here there's some novelty with such diverse instrumentation and arrangement.

The reason I say this band is poised to break out is that there's a maturity present in their recording. The songs work together, there's a deliberate presence, and everything feels smooth, rounded off. On so many albums, what could be a great listening experience stutters and falls in the chasms between irrelevant songs (take Lady Gaga's The Fame, a pop standout suffocated by its single-oriented nature and lack of unifying motive). It's so, so easy to write ten songs and record an album, as opposed to writing an album and recording ten songs, especially on a first outing, especially for an independent band. That's why Freelance Whales shows promise.

Owl City - Ocean Eyes

2009-10-04T16:27:00.000-07:00

There's definitely something to be said for catchy music. The instant buzz you get from a song that zips through your synapses is a powerful thing. It could be argued that pop music, from the beginning, has mainly been concerned with creating songs that stay in the listener's head for as long as possible. Even before the audio recording revolution, musical Darwinism kept only the catchiest tunes alive in the ears of the masses.

This mentality is partly to blame for the explosion of DIY music-makers on YouTube and the Internet in general, peddling their hooks and jockeying for listeners. While perhaps equally noteworthy is the new movement of independent artists intentionally going against the stereotypical made-for-radio sound, most of what we hear today belongs to that pursuit-of-pleasantness school so often associated with mainstream pop.

Adam Young is one such artist. His project, Owl City (or O-Town, as my pal Mitch likes to call it) is the most recent band to conquer my iTunes Recently Played list with a campaign consisting solely of electronic beats, blips, and synths. Ocean Eyes, Young's latest album, is practically a how-to tape on creating instantly-appealing songs with just a basement full of tech. Think The Postal Service, but more accessible and more teenager. There's even some Imogen Heap in there.

Now, one of the things I've noticed about bands with catchy music is that the catchier their songs are, the more homogeneous their body of work becomes. For example: The Beach Boys, or Mates of State. I haven't listened to all of Young's albums, but judging solely from his most recent two, Maybe I'm Dreaming and Ocean Eyes, the threat is definitely there. Still, with music this bright and downright enjoyable, it's hard to fault him for sticking with a formula that works and has won him a cache of (mostly female) fans.

I recommend Owl City if you're looking for some feel-good songs to round out your library, but don't expect anything groundbreaking. Not all music should be "deep", or even "moving", and Adam Young is an excellent alternative to the pop drivel usually served up to fulfill that role.

Bon Iver - For Emma, Forever Ago

2009-09-14T21:42:00.001-07:00

Okay, so maybe I missed the boat on this one. Bon Iver has lit up the blogosphere before, but I just have to write about them, just so that you know. Better late than never.

Bon Iver is a group headed by Justin Vernon, who wrote the material for their first album, For Emma, Forever Ago in Eau Claire, Wisconsin, of all places, cloistered in a secluded cabin. That loneliness, that air of a distant nature's arena, is definitely conveyed in the album. Vernon has a very melancholy, unfiltered voice. The first time I heard him sing, the song "Skinny Love", was almost startling, not from strangeness, but from a kind of honest, regretful timbre to his singing. Stark is a word that fits. You've got guitar, and you've got voice, and not too much else. The reason it works is his unique approach to melodic shape, utilizing effortless cadence and syncopation. I don't say this about very many albums, and I mean it: For Emma, Forever Ago is downright pleasurable listening.

There's not much I can say here that hasn't already been said, by other, more noteworthy people. All I can add is that I hope you listen to this music. I think it's important that you do so.

Shad - The Old Prince

2009-08-28T12:39:00.000-07:00

As far as white people go, I'm pretty white. I own a messenger bag. I live in Missouri. I play perhaps the whitest instrument in music: the mandolin. But I'd like to think I can appreciate good rap. I've taken it upon myself to become familiar with all types of music, and in doing that I've found out that I actually like most types of music, rap definitely included.

A nice thing about hip hop is that there's really not that much to it, as far as requirements for comprehension. Sure, there's a certain vernacular to become familiar with (women are sho'ty's, hos, etc.), most of which requires a sense of leniency toward grammar, legality, and women's rights, but besides that there are relatively few barriers to appreciation of the genre. Basically, there are two intrinsic elements to rap: rhymes and beats. The more satisfying the beat and the more obscure or unlikely the samples used, the better the song. Lyrics are judged based on vocabulary, difficulty, imagery, or even just the level of insult if the rapper is dissing someone. A particularly good flow should make you think "Oh snap!" or something like that.

Now, I'm not a huge fan of Soulja Boy and his ilk, and if you listen to Shad you'll know why. Shad is a Canadian rapper (yes, he's black), which is rare in itself, but even rarer is his talent. Listen to his flows and you witness true lyrical genius. I was playing his album The Old Prince when I started this post and I had to turn it off after a few minutes because I would stop writing and just listen in awe. The things he can do with words are just sick. Absolutely engrossing. And it can be about anything. Many of his songs have a playful streak to them, like the title track "The Old Prince Still Lives At Home". I was first introduced to Shad by the music video for it, which takes most of its imagery from the Fresh Prince of Bel-Air. Definitely worth a watch.

Shad's also got his serious side, and his songs frequently discuss "the issues". He's gifted with an eloquence, however, that negates the usually blunt nature of political rap songs. His song "Brother Watching" is a fantastic call to action. The entire album is clean. Shad even mentions Jesus. If you're looking for the next Fiddy, Shad will definitely disappoint. But if you want truly skillful hip hop without all the annoying lines about sex, violence, and civil disobedience, this might be as good as it gets.

The Greencards - Fascination

2009-08-10T14:09:00.000-07:00

You may not know this about me, but I love bluegrass music. I play the mandolin, and I was basically raised on the stuff. Well, like any other genre of music you have the traditional on one hand and the groundbreaking on the other. Bluegrass has always been stuck in the past, some would say, and for the most part I agree; there's too large a constituent of genre fans still clamoring for the same exact Bill Monroe sound, fifty years after its heyday. But there are alternatives. Newgrass Revival started bringing rock and jazz elements into the genre in the seventies. Chris Thile and Nickel Creek brought bluegrass into the pop/country and, later, alternative segments. Bela Fleck has, through utter mastery of the banjo, created a subgenre of intelligent, aware, new acoustic jazz.

Despite this, bluegrass seems destined, and content, to stay obscure. As the audience ages and shrinks, the relatively small and feeble bluegrass-focused record companies are becoming less and less willing to take risks, leading to streams of well-meaning but derivative bands that can't hope to expand their demographics. It's incredibly frustrating, as a musician, to see this vicious circle play out.

But there is an alternative: The Greencards, a group of young, virtuosic artists taking the bluegrass world by storm. The Greencards have completed their transformation from envelope-pushing traditionalists in their sophomore project, Weather and Water, to groundbreaking acoustic alternative rockers with this fourth project, Fascination. Made up of mandolin, violin, and electric bass, the trio can still claim their folk moniker, lacking drums, but are otherwise left free to experiment. Where other bluegrass bands would most likely fall back into traditional mores, The Greencards all but eschew the genre's overused chord progressions, soloing conventions, and melodies, instead developing a more modern sensibility.

The group hasn't left behind everything, however. Bluegrass has always required a high degree of musicianship, mostly owing to the hurtling speeds at which some songs are played and the skill to play with many different musical instruments in one ensemble coherently. As if it weren't already evident from seeing one of their shows, I've gotten the opportunity to jam with these guys (or "have a pick", as they call it), and I was totally awed by their mad skillz.

With Fascination, The Greencards have become what I hoped they would be from the beginning: a band incorporating bluegrass instruments to stray past the boundaries of the traditional music those elements have been mired in, but doing so in such a way as to garner merit in their own right. The album is by no means perfect, but if songs like "Davey Jones" and "Fascination" are any indication, the group is straying into very delicious territory. Carol Young's vocals are extremely potent, channeling equal parts Krauss and Krall in some instances. The songs just feel new, which is more than I can say for a lot of bands.

Perhaps bluegrass will never "break out" in the pop field, but The Greencards have proven that, at least musically, it already has.

Silversun Pickups - Swoon

2009-07-31T23:22:00.000-07:00

Gosh, I must be just terrible. I found out about these guys by watching David Letterman. I didn't even stay up to see them perform. I just Youtubed them the next day. Isn't that nuts? What a way to live, man. Maybe if radio wasn't complete crap I could hear some new artists once in a while instead of seeing them being mentioned on TV.

I know, I know: "last.fm! last.fm!" But I don't like that website. Pandora, Last.fm, etc. are the Google Ads of the music world. It almost makes me want to check "music" as my only interest on Stumbleupon and see what I come across.

Anyway, back to this band. Like lots and lots of bands, once I started listening to them I realized I had heard them before but could never figure out what the group was called. It took me months to realize that Lady Gaga sang not only "Pokerface" but "Just Dance". I still attribute every rock song I hear with a raspy male vocalist to Nickelback. But then again, no one should give a crap about Nickelback.

I always try to listen to a band's latest work when I first get into them. Silversun's 2009 release Swoon convinced me to keep digging. It wasn't until hearing their 2006 album, Carnavas, specifically "Lazy Eye", that I realized I had heard them somewhere before. I like having that kind of vague familiarity with a band. It's like finally getting to talk to someone you've seen only glimpses of. Satisfying.

I've always been meaning to get into heavier stuff, and I guess this is a step in that direction. Heaven forbid I say that I have a "high-brow" taste in music (I listen to Futuresex/Lovesounds every weekend), but anything harder than alt rock usually starts to sound a little banal in my opinion (see Linkin Park for an example of what I usually stay away from). I listen to Dragonforce once in a while for the lulz, but still.

However, Silversun Pickups are kind of becoming a favorite of mine. Maybe there really is better hard rock out there, and maybe someday I'll find it, but for now I really like these guys. It might be the fact that I've been listening to a lot of Pablo Honey recently, but the guitar tone here is scratching an itch I didn't know I'd been trying to scratch. The atmosphere is a little darker, a little more intense than what I usually put on, but I like it. What I really appreciate, though, is that there are some awesome melodies here. Like, awesome. There are orchestral elements, but they're not overused, which is nice. The vocals, while not exactly amazing, are as good as they need to be. No shrieking or screaming.

These guys are a bit outside my capacity to write about musically, but I felt I had to share my opinion here. It's important to not become rooted behind genre lines, e.g. "I like everything except country and rap." You've got to try everything.

Alexi Murdoch - Time Without Consequence

2009-07-12T09:49:00.000-07:00

If you've seen the movie Away We Go, then you're already familiar with Alexi Murdoch's music. The songs "All My Days" and "Wait" are both featured in the film. My first priority after getting home from the theatre was looking up the artist who did those songs, so I checked it out on IMDB and then fired up the old Youtube. Turns out his music has been used in quite a few TV shows before and his album was on the Billboard Heatseekers chart.

Time Without Consequence, Murdoch's first full album, is a touching, emotional work that subtly glides around folk boundaries. Songs like "All My Days" evoke a more polished Bob Dylan, while other songs, especially the moody "12", are reminiscent of early Coldplay. In fact, the entire album feels like an even mellower Parachutes, if that's possible.

The thing that sets Murdoch apart is his voice. He has a kind of raw strength and honesty that is so rare nowadays. His delivery is effortlessly smooth and powerful, but has a conversational openness. There's just the slightest hint of a Scottish accent.

Accompaniment on the album is understated without feeling empty. Surging, at times, and absolutely flying when it needs to be. Pacing is a big aspect of it. There are plenty of details to keep you interested. Listening to the album all the way through is very satisfying.

I'm sure I'll be listening to this man for a long time. At the very least, do yourself the favor of listening to "All My Days". There's a great live video of it on Youtube.

Joanna Newsom - Ys

2009-07-08T21:40:00.000-07:00

Joanna Newsom is not your average singer. First of all, her voice is...unique. There's really no one else quite like it. My sister says she sounds like she's twelve years old, and I'll admit she doesn't exactly sound like most grown women, but the effect isn't as jarring as someone like Lady Sovereign(who I'm convinced is secretly a tween). In any case, she's a terrifically talented singer. You really have to listen for yourself, but I think her voice is a welcome change from the Natasha Bedingfields and P!NKs and Taylor Swifts (bleh!). I really am extremely picky when it comes to female vocalists. And male vocalists, for that matter.

The thing is, though, this show isn't all about Joanna's voice. Her album Ys is a collection of five lengthy fairytale ballads and songs, each a gem of musical and lyrical craftsmanship. This isn't an EP, though. No, this is a gosh darn full album; the whole thing runs a little over an hour. Each song is filled with vibrant and seldom-heard words(define jerkin, if you can), which combined with harp and orchestral accompaniment further the fantastical quality of the album(what does Ys mean, anyway?).

When listening to this stuff I feel like I should be sitting in a wingback armchair in some mansion filled with books. There's a regalness here, kind of. It's the type of music you wouldn't listen to every day--only when you're feeling particularly ponderous and wonderful. I think the harp has a lot to do with that. It's a highly underrated instrument, and Newsom is pretty spectacular at it. I wouldn't mind if her work inspired other artists to use the instrument more often.

Wikipedia says she's psych folk, whatever that is, but one thing I really like about Newsom is that she doesn't snuggle into any real genre(I found Ys in the Pop/Rock section of my library, haha). That gets you pretty far in my book. Anyway, if you want something high-quality and different, please do give this a listen.

The Decemberists - The Hazards of Love

2009-07-01T09:15:00.000-07:00

Back when I didn't care very much about finding good music, I would hear about The Decemberists and think, "With a name as cool as that, those guys must be pretty good." Basically, I was right.

Lead singer and songwriter Colin Meloy has become modern music's go-to ballad boy with the band's recent album The Hazards of Love. The seventeen-song epic throttles along with a vengeance the tale of, well, I'll let you figure that out for yourself. Suffice to say there's a slew of characters and all of the songs flow together. It's quite beautiful, really.

But even if you ignore the underlying stories, you're still left with a brilliant sound. The album's instrumentation is at times immense and grandiose, but just as easily shifts to sparse and chilling or just plain intense. Then there's the vocals, oh my God. Of course Meloy is instantly lovable. But then you've got Shara Worden, a guest vocalist from My Brightest Diamond. Just listen to "The Wanting Comes in Waves", if you want to hear what that's all about. It opens with Colin accompanied by harpsichord, quickly moving to a soaring chorus with drum, bass, and backup singers, then morphing into a bluesy, hard-driving verse with Worden's unmistakable voice over top, only to cycle through all three again, all with a searing narrative in the background. I defy you to find another band capable of making a song like this.

If you're looking for an accessible piecemeal album, this is not for you. But for someone tired of the everyday drivel of formulaic pop album structure this may be just what the doctor ordered.

Midlake - The Trials of Van Occupanther

2009-06-28T20:07:00.000-07:00

Here's a band I listen to an awful lot. Name is Midlake and they're from a small town in Tex. Specifically, their album The Trials of Van Occupanther is what I'm about here. Great album. I'll tell you this right off the bat, here: I'm a sucker for sweet melody, and that's what you get from these guys. Nothing trite, nothing very derivative. Acoustic, mostly. The lead singer's voice is mesmerizing, especially when it's layered over itself a couple times in harmony. He's got a subtle tinge in there that just drives me wild.

The songs are mellow. Good reading music. There's nothing here that will jump out at you; everything flows smoothly, coherent. Sometimes I find myself wanting a little more energy out of them, but that wouldn't be quite right, frankly. The songs are designed, and nothing feels out of place. It's still loose, though. No Autotune, no pointless interludes, no gimmicks. Very fresh.

As for lyrics, the imagery is what's important. No love songs here. Great delivery and not much vocal finesse and you're given kind of an atmosphere. I have no idea what the title song is about--see if you can puzzle through it. But really, nothing too complicated. Just scenes and ideas.

Listen and let this music take you where it wants to go. Pay attention to melody lines and little nuances. Let a few lyrics drop into your consciousness here and there but otherwise treat the vocals as a part of the whole. Repeat "Roscoe", "Head Home", and "Young Bride" a couple times if you really want to see what's up.

First Post Extravaganza Fist-Bump Party!

2009-06-11T19:38:00.000-07:00

Hey,

This is my blog, okay? Awesome.