Midlake - The Courage of Others

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

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

"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

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

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

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

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.