Indie Shuffle » albums

Grand Lake – Blood Sea Dream

Taylor Fife — Fri, 10 Sep 2010 01:48:00 +0000

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Sounds like: Arcade Fire, Titus Andronicus, Port O'Brien

"Grand Lake - Concrete Blonde On Blonde (880 South)"

What's so good?

Formerly the bassist of indie darlings (yes I said that) Port O’Brien, Caleb Nichols has teamed up with longtime friend and collaborator Jameson Swanagon to form a new force in the Bay Area music scene. The Oakland based group shuns the trite and boring elements of wimpy 4/4 indie rock and instead delivers complicated, haunting, intricate music with passion and intensity. Grand Lake’s album, Blood Sea Dream, isn’t as pop oriented as most other successful indie rock bands, and therefore at times more difficult to listen to, but the band’s songwriting ability is always on full display.

On Thursday September 16^th Indie Shuffle will be teaming up with our friends at Epicsauce.com to bring Grand Lake to Milk Bar in San Francisco. Ash Reiter, Burrows, and Sunbeam Rd. will be supporting. We’re going to have plenty of details posted on the site tomorrow, and will even give you a chance to win free tickets, so stayed tuned.

Elsewhere on the web:

myspace | myspace.com/grandlakemusic

Interview: Baths – Cerulean

Nicole Cifani — Fri, 10 Sep 2010 01:01:26 +0000

Click image to download full album

Sounds like: Dosh, Daedelus, Bibio

"Baths - Aminals"

What's so good?

Baths is 21-year old Will Wiesenfeld, a So-Cal native who grew up in the San Fernando Valley. Playing various instruments since the age of 4, he began to produce electronic music at 13. Recording under the monikers [Post-Foetus] and Geotic, both projects combined sound design, ambient soundscapes and live instrumentation, laying the groundwork for what was to come.

Baths, the next installment of Will’s musical evolution, takes his artistry to another level in all aspects of being a self-taught musician, songwriter and producer. The much-anticipated and multi-dimensional album is where his influences collide, merging musically-trained sensibilities with the nuances of electronic music – fittingly par for the course in a time when the boundaries between the two are becoming increasingly blurred.

Below, Will speaks to his process, inspirations, and more:

What was the writing process like for this record? As your first LP under the name Baths, were there any new discoveries?

I made sure that nothing was premeditated. Most of my material under the name [Post-foetus] had very specific ideas before i ever sat down and started recording, but (at least for this first album) I wanted a departure from that sort of writing process. I made sure to just immediately start recording and having fun before I thought too deeply about anything.

Who would you love to collaborate with?

Björk! The ultimate for me. But in truth, never been much of a good collaborator… I’m learning.

As a musician, how do you think classical songwriting affects the way electronic music is produced? Do the two go hand-in-hand?

Classical training goes well with composing in any genre of music, let alone electronic music. There are ideas and processes that bleed through that I can’t think of off the top of my head, but I know that it has helped me tremendously. I can translate the things happening in my head much faster than I’d otherwise be able.

Finally, what inspires you?

Everything?! Romance, animation, Japanese everythinggggg, men, water… I can’t keep track. Don’t know at any one moment what will become an inspiration.

Elsewhere on the web:

myspace | myspace.com/bathsmusic

The Clientele – Minotaur

Holly Wang — Thu, 09 Sep 2010 18:16:52 +0000

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Sounds like: Galaxie 500, Pipas, Trembling Blue Stars, The Zombies

"The Clientele - Minotaur"

What's so good?

As a combination of new and unreleased tracks, one would expect some disjointedness, but the eight tracks on Minotaur work seamlessly together – a bit retrospective, a bit new. Labeled as a “mini-album,” it is almost as satisfying as a full-length. Many times, an EP can leave me feeling a bit incomplete, so I think The Clientele’s album was just the right length for a smaller release. Although Minotaur isn’t a leap forward and doesn’t push any boundaries, it does a wonderful job at subtly exploring the sound from their debut album to the present.

Minotaur is reminiscent of all the things I’ve grown to know and love about The Clientele. It’s melodic, sometimes eerie, lyrical, and a bit mysterious.

One track that stands out is “The Green Man,” which is a spoken word track towards the end of the album. It was written by Alasdair MacLean and posted on his blog in 2008. His breathy vocals, the indistinct sounds in the background, the ghostly imagery — all create a feeling that sticks with you. It’s one of MacLean’s shining moments, where he really puts his literary talents on show, and you are able to see that he’s not just a musician but a seasoned writer.

To accompany this mini-album, The Clientele is doing a short West Coast tour, starting in Seattle and ending in San Diego. So if you are wanting to hear more from this talented band, head out to one of their incredible live shows.

Elsewhere on the web:

myspace | myspace.com/theclienteleofficial

The Plastics – Shark

Jason Grishkoff — Thu, 09 Sep 2010 15:28:39 +0000

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Sounds like: The Strokes, The Arctic Monkeys, Julian Casablancas, Empire of the Sun

"The Plastics - Lookout"

What's so good?

When I visited South Africa in 2005, I met two brothers — Sasha and Pascal Righini — who were passionate about music. Five years later, I was pleased to find that they had converted their passion into something tangible: not only had they pulled off a win in the Red Bull Radar competition at Rocking the Daises in 2008, but they were on the verge of putting the finishing touches on their first full-length. All that was pending was for Gordon Raphael (of The Strokes) to fly in from somewhere in America to produce the final product. Nine months later, Shark is here to play.

The first time I heard The Plastics I was drunk at a show in downtown Cape Town (though I think they were more drunk than I was). That’s often the best way to see a show, and I have hardly seen a crowd as enthused as the one watching them. A few days later, I had the opportunity to hang out in their studio and listen to a few of the developing tracks. I was struck by the contrast between their on-stage performance, and the tight nature of their recorded material. Their sound is distinct and yet undeniably familiar. So what differentiates The Plastics from their two biggest influences, The Strokes and The Arctic Monkeys?

I think the answer lies in the detail. Where the two aforementioned groups aim for simplicity in their lo-fi approach, I find myself frequently and pleasantly surprised by the multiple touch-points and layering in of new elements within each song. Take, for example, the track “Stereo Kids,” which features catchy guitar licks and the introduction of acoustic guitar — something I can’t remember having heard with other lo-fi acts (save for perhaps this cover of The Strokes by Metric).

All-in-all I find myself excited by the indie scene in South Africa. While music blogging may not have caught on there yet (blame the bandwidth caps on DSL-only internet access), the fervor around the local scene is something to be reckoned with. The Plastics are undoubtedly running at head of the pack in Cape Town, and while we have yet to see any major indie rock artists come out of South Africa and burst into the worldwide scene (Die Antwoord don’t count!), I think these guys stand a good chance. Certainly Gordon Raphael flying out to help them work on their album is testament to that fact!

“Shark” will be available for purchase online shortly, but in the meanwhile you can keep up-to-date on the band by following them on Facebook.

Elsewhere on the web:

myspace | myspace.com/theplasticsband

Live in San Francisco: Bassnectar

Taylor Fife — Wed, 08 Sep 2010 20:50:20 +0000

Click image to download full album

Sounds like: Ill Gates, Freq Nasty, Odd Nosdam

"Bassnectar - Boombox"

What's so good?

Bassnectar has become a full-fledged electronica superstar since I gave ‘Cozza Frenzy’ an honorable mention on my Top Album’s of 2009 list a year ago. Bay Area locals and bass junkies have been digging his eclectic experimentation for nearly a decade, but he’s gotten so huge since dropping Cozza Frenzy that he’s become known even outside of the dance and electronic music communities. When I saw him DJ for the first time at Burning Man 2009 he absolutely blew me away. It wasn’t until nearly a year later at Outside Lands that I got to see him perform again, and after Pretty Lights’ killer set my expectations were high. As he walked up to the tables for his mid afternoon set time I figured we were in for a treat when he asked the crowd to pretend it was midnight because he was about to slay face.

The set started off just peachy, but technical difficulties killed the vibe only a few minutes into the performance. When the sound finally kicked back on, the next portion of the set was completely ruined for me when I had to frantically exit the crowd to find paramedics for a drugged out raver girl having a seizure just a few away from me. These external factors made the experience less than ideal, but honestly, Bassnectar would have been a disappointment anyway. He played his hits, he played some classics, lots of pop, plenty of drops and wobble, effects galore, and mixing new tracks in every minute or so. It was good, but any DJ could do that. And great DJs do it much better. The crowd loved it, and Bassnectar obviously knew his audience, but he seems to definitely be dumbing down his act in an attempt to please more people. I know it’s supposed to be childish to accuse an artist of selling out, and I’m sure Lorin is happy he can finally be sure he’ll have money for rent each month, but I can’t bring myself to praise a set so lacking in creativity and ingenuity.

Before heading out to Burning Man 2010, Bassnectar was on my short list of artists to see there. And like most of those artists on my short list, I totally missed him. And guess what, I’m not one bit sad about it. The artists I saw instead were pushing boundaries and doing things I simply did not think possible. Word is Bassnectar had a few very well practiced, bassy, wobbly, sets full of drops, hits, and classics. Apparently the party was bumping, but with so much music out there, you might as well only listen to the best. Stay tuned for the next few weeks as I give my Burning Man 2010 report, which you can bet will be a preview of the best artists you’ll be hearing about next year.

Elsewhere on the web:

myspace | myspace.com/bassnectar

Preview: Blonde Redhead – Penny Sparkle

Kelly Scott — Wed, 08 Sep 2010 19:16:46 +0000

Click image to download full album

Sounds like: Bjork, Deerhoof, Sonic Youth

"Blonde Redhead - Not Getting There "

What's so good?

There is always one thing to be said about ahead-of-hip rockers Blonde Redhead: they’re unflinchingly reliable. Their history, unfortunately, isn’t one of broadly shared affection. Blonde Redhead materialized in 1995, but my hands only touched Misery is a Butterfly in 2004, when even then, they only generated half a head turn. Building on the momentum created during the divine Misery is a Butterfly, the band hit the surface with 23 in 2007. 23 was markedly more commercial, but withheld a sustainable energy that still secures Blonde Redhead into elevated status.

And now we’re here, three years forward with a new album called Penny Sparkle (due out on 9/14) and a not-so-new Blonde Redhead.

First, let’s extinguish any lofty expectations; Penny Sparkle isn’t an instant grabber. Some may even contend that they’ve wasted their brilliance and lost the force that backed their previous exertions. Personally, I can get behind this album. Penny Sparkle is surely a repackaged effort, even if lead singer Kazu Makino claims they’ve never made music this way. However, it is still the always lovely, well-oiled Blonde Redhead — and if anything, it’s substantially more instinctive and appropriately less cerebral.

By design, Blonde Redhead has never projected visible appeal. This could very well be the prefixed fate attached to naming your band after a DNA song. Naturally, Penny Sparkle shines is in its subtlety and non-intrusive demeanor. They’re not trying to be brave here, and it’s easy to write off a band like Blonde Redhead for an album like Penny Sparkle because they’re not constantly pushing the ethereal envelope and obliquely accelerating. For the myopic, the subjective flaw in Penny Sparkle takes shape in the form of familiarity, not technical execution.

Structurally, they’ve never sounded better. “Here Sometimes,” the appointed single, channels Bjork during Dancer in the Dark, which is awesome for an ocean of reasons, most salient being that Bjork sounds incredibly poised and irresistibly inviting on that soundtrack. “Spain” is an intelligent closer, equipped with all the other-worldy atmosphere you could imagine, and “Not Getting There” is equally as inspiring, emitting a darker, more haunting tone.

Was it everything I dreamed? Not completely, but bands like Blonde Redhead will always mean something unexplainably positive to me. Penny Sparkle, while it’s not Misery Is a Butterfly and Melody of Certain Damaged Lemons, is definitely still worth the art college try.

Elsewhere on the web:

myspace | myspace.com/blonderedhead

Samiyam – Man vs. Machine

sweeneykovar — Wed, 08 Sep 2010 17:22:42 +0000

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Sounds like: Flying Lotus, DJ Premier, Lorn

"Samiyam - Rounded"

What's so good?

The Los Angeles beat scene has burgeoned in the past few years into a mecca of experimental instrumental music. One of its brightest stars is a young transplant from Michigan named Sam Baker, better known as Samiyam. During MySpace’s heyday (and while still in Michigan), he caught the ear of Flying Lotus, probably the most recognizable representative of the Los Angeles music community. Soon FlyLo added Mr. Baker to his nascent Brainfeeder imprint.

In the following few years, Sam moved out to L.A. and honed his sampling skills. Inspired equally by 80’s R&B records and by mid-90’s East Coast hip-hop, Samiyam has developed a niche in crafting off-kilter, synth-heavy beats with melodic bass lines.

His latest release, Man vs. Machine, on Poo Bah Records, confidently shows he has created a musical identity for himself. “Catch Me Riding Dirty” centers around a smooth bass line with shuffling drums that equate to a tune that could find a home in car stereos around the famed Slauson Swapmeet in South Central. “Porno Slap” employs a sample that sounds like it might have come from a Nintendo game, sounding like the soundtrack to an 80’s video game (when the player must face the final-level boss). Perhaps my favorite cut from the EP, “Rounded,” pairs another laid-back bass line with some playful synth stabs and a drum roll for the beat equivalent of a weekend afternoon spliff.

Elsewhere on the web:

myspace | myspace.com/samiyambeats

The Bird and the Bee – Fucking Boyfriend (MartyParty Dubstep Remix)

Kyle Suss — Tue, 07 Sep 2010 21:12:54 +0000

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Sounds like: Mimosa, Kraddy, Lazer Sword

"The Bird and the Bee - Fucking Boyfriend (MartyParty Dubstep Remix)"

What's so good?

I’ve been to a couple shows where this song has been played and everyone just goes crazy when it comes on. The combination of Inara George‘s fluffy vocals with a heavy dub track is such an unexpected pairing, but it works so well in this case. I’ve danced to this in a way I never thought I would move to a song by The Bird and the Bee, but that’s one of the reasons I like this remix so much.

MartyParty is a native of South Africa that is currently based in the U.S. He prides himself on creating his own formula for producing electronic music by combining elements of hip-hop, glitch, and dubstep. The real treat is seeing Marty at a live performance, though. These are the kind of concerts where people just go nuts in their own little dance bubbles without a care in the world. I would highly recommend catching Marty if you live on the West Coast during the latter half of his fall tour.

Bonus: MartyParty – Los Angeles

Elsewhere on the web:

myspace | myspace.com/martypartymusic

High Places – High Places vs. Mankind

kmanning — Tue, 07 Sep 2010 18:48:18 +0000

Click image to download full album

Sounds like: Barr, Liars

"High Places - Shes a Wild Horse"

What's so good?

High Places is an organic combination of nature influences and a multitude of instruments, and High Places vs. Mankind duels each of those influences, starting with the album title.

The Brooklyn duo (Mary Pearson and Robert Barber) met while Pearson was studying music at Western Michigan University and they were both performing as solo artists. The two began collaborating with experimental music and their unique musical styles. High Places vs. Mankind is their second full-length album from Thrill Jockey Records.

This album has layers upon layers of beats, and Pearson’s melodic, hopeful voice top it off to give it a truly unique feel. The vocals are soothing and unpredictable, clashing with the experimental and trans-like beats that should seemingly be paired with an upbeat and dance-worthy voice. Instead, Pearson’s voice echoes through the album, airy and weightless.

High Places vs. Mankind has a 70s feel to it and stays in a dream-like state from start to finish. The duo seems to work hard at making their ideas clash, yet it works out well. The opposing sounds create a barrier between vocals and instrumentals, making it impossible to ignore either.

“She’s a Wild Horse” is the most vocally-based song on the album, with very minimalist instrumentals for most of the song. About halfway through, the beats get heavier and Pearson’s voice begins to sound like a bird as the sounds of chirping enter the track.

One of the strangest songs on the album is “On a Hill in a Bed on a Road in a House” and it is just as confusing as the title. The track’s instrumentals are choppy and have no rhythm, obviously on purpose. In some scenarios this may work, but it is a bit of a stretch here. The vocals are even layered with a constant undertone of lyrics similar to a Dr. Seuss book.

High Places is indeed a unique band. However, the constant clashing becomes a little overbearing. The wispy vocals and hard-hitting beats tend to get old after the third or fourth song. I guess sometimes opposing views just can’t get along.

Elsewhere on the web:

myspace | myspace.com/hellohighplaces

Belle & Sebastian – Write About Love

Jason Grishkoff — Tue, 07 Sep 2010 18:06:14 +0000

Click image to download full album

Sounds like: The Magnetic Fields, God Help the Girl

"Belle & Sebastian - Write About Love"

What's so good?

I was thoroughly surprised to see Belle & Sebastien back on the tour circuit when it was announced they’d be playing Treasure Island in October of this year. Inevitably, that meant there was a new album in the works, to be named “Belle & Sebastian Write About Love”. Appropriately, the first single off their eighth studio album bears the same name as the album as a whole. The track can be downloaded for free by clicking the image to the right, or by following this link. Enjoy!

The full tracklist is as follows:

01 I Didn’t See It Coming
02 Come on Sister
03 Calculating Bimbo
04 I Want the World to Stop
05 Little Lou, Ugly Jack, Prophet John [ft. Norah Jones]
06 Write About Love [ft. Carey Mulligan]
07 I’m Not Living in the Real World
08 Ghost of Rockschool
09 Read the Blessed Pages
10 I Can See Your Future
11 Sunday’s Pretty Icons

Elsewhere on the web:

myspace | myspace.com/thebandbelleandsebastian

Preview: Black Milk – Album of the Year

sweeneykovar — Mon, 06 Sep 2010 19:33:05 +0000

Click image to download full album

Sounds like: J Dilla, Pete Rock, DJ Premiere

"Black Milk - Deadly Medley ft. Royce Da 59 & Elzhi"

What's so good?

Too often, the uninitiated assume that underground hip-hop is by definition the antithesis of commercial hip-hop. While it’s sometimes true that underground hip-hop frequently explores sounds and themes that would not find a home in a more commercial setting, nowadays what seems to mark the difference between the underground and mainstream hip-hop is more a matter of economics and marketing than the actual content of the music.

Detroit bred producer/MC Black Milk is a prime example of someone who would easily have found himself on a major label in the 90s. His third LP, the boldly titled Album of the Year (to be released on 9/14), is a strong piece of work that displays Black’s musicality while staying firmly entrenched in the hip-hop tradition.

From the opening bars of “365” to the last seconds of “Closed Chapter,” it’s apparent that Black Milk has mastered the art of sculpting monstrous drums. Using a recording technique that combines sampled drums with live ones, Black made each snare and kick have a life of its own. In fact, combining samples with live instruments is employed throughout the entire album, giving a warm girth to the music that could stand toe-to-toe with any hyper-produced mainstream composition that’s out now.

On “Round of Applause” Black combines his trademark drums with Fela Kuti-esque horns, and he brings in a full string section for the stellar “Black and Brown,” a duet with the up-and-coming Danny Brown. “Deadly Medley” is a ferocious display of lyricism by Black and fellow Detroit MC’s Elzhi and Royce Da 5’9” backed by a bluesy guitar loop.

While Black’s flow on the album is always on-point, at times his strict adherence to a familiar cadence can venture into the monotonous. Thankfully, that’s few and far between, and Album of the Year is a collection of powerful and adventurous music.

Elsewhere on the web:

myspace | myspace.com/blackmk

Bridges of Königsberg – We Have Many Faces

Caden Moore — Mon, 06 Sep 2010 17:34:58 +0000

Click image to download full album

Sounds like: Nine Inch Nails, Mogwai, Godspeed You! Black Emperor

"Bridges of Königsberg - Waiting For Stars To Explode"

What's so good?

These days, when most indie bands are not really independent, it is exciting to hear a band that is self-sufficient and not attached to the corporate media conglomerate that is destroying music. Take a look at Bridges of Königsberg’s website and you will see photos of the band assembling the packaging for their debut EP, We Have Many Faces, by hand. Now, this may not seem that impressive for a local band, but take a listen to the song “Waiting For Stars To Explode” and you will find that Bridges of Königsberg is not just some local garage band churning out half-assed music in a sad attempt to pass the time in the boring suburbs of Northern Illinois. The music of Bridges of Königsberg is bigger than that — it’s more exciting and more original.

The music itself is mostly instrumental, save for a few breathy lines of vocals by bassist and vocalist Paul Petrosyan, and is carried by the beautifully distorted melodies of guitarist Matthew Brakel. Compared to other post-rock groups, whose music seems to be drawn out for ages, the music on We Have Many Faces is to the point, but still long enough to get completely lost in. The album is also wonderfully produced, especially considering that it was recorded without the help and budget that other so-called indie bands have.

Also worth mentioning is the musicianship of this band; the music is complex and impressive, each instrument is played flawlessly and carefully with much attention to detail, every note articulated in just the right way. Even the electronic elements fall into place nicely; the high-pitched drum loops compliment the acoustic drums while the synthesizer provides an ambient backdrop during the album’s more somber moments and sharp arpeggios during its most intense moments.

Bridges of Königsberg takes all the best elements from post-rock, electronic, and shoegaze music to create something uniquely beautiful without the help of millionaire record producers, PR agents, and other trivial things that get in the way of great art. We Have Many Faces is available for download on a name-your-price (including free!) basis at Endless Field Studios.

Elsewhere on the web:

myspace | myspace.com/bridgesofkonigsberg

Ray LaMontagne and The Pariah Dogs – God Willin’ and The Creek Don’t Rise

Max Jacobs — Sun, 05 Sep 2010 17:33:10 +0000

Click image to download full album

Sounds like: Martin Sexton, Van Morrison, Tim Buckley, Jesse Winchester,

"Ray LaMontagne and The Pariah Dogs - Beg Steal or Borrow"

What's so good?

If you aren’t familiar with Ray LaMontagne you might be confused as to what type of singer he actually is. From his latest album God Willin’ & the Creek Don’t Rise (unrelated to the new Spike Lee series) you might guess he was a blues rocker, soft rock R&B singer, or twangy folk musician. The country feel to LaMontagne’s fourth album is a bit of a new direction. While folk often comes to mind when listening to his previous work, you’re more likely to hear a piano or horn section backing up his guitar rather than a banjo.

It’s tricky to find the right accompaniment to compliment and accentuate LaMontagne’s vocal talent without making music that sounds like it would fit in the lobby of a Holiday Inn. LaMontagne’s music has, at times, accomplished both. On the album’s opening track, “Repo Man,” his backing band The Pariah Dogs are able to create a loud and rich sound with bluesy electric guitar and harmonica riffs; their music allows LaMontagne’s scratchy and raw voice to soar.

In the middle of the album, however, the track “This Love Is Over” sounds like it belongs on a 90s soft rock compilation that you see TV commercials advertised late at night. With ever-so-light drums, gentle acoustic guitar and piano, slide guitar, and of course, a backing string section, all the instrumentation sounds cheesy and unnecessary. It’s one song that LaMontagne’s superb voice just cannot save.

Throughout God Willin’ & The Creek Don’t Rise, LaMontagne sings about life’s turning points. What I found the most interesting were his discussions of the trying moments of ones young life (dare I say transition period), when a person is still defining oneself and deciding if they’ll conform to life and society’s expectations. Aside from the resonance I felt concerning my own life as a twenty-something post-college runabout, his lyrics are fascinating considering his own unique background.

LaMontagne grew up in poverty and had trouble escaping it; he made his living working in a shoe factory. Early one morning before work he heard the song “Treetop Flyer” by Stephen Stills on the radio and decided that music would become his new path. On the songs “Beg Steal or Borrow” and “Old Before Your Time,” he clearly revisits that pivotal period of his life. From “Beg Steal or Borrow:”

Are you gonna step into line like your daddy done, punching the time and climbing life’s long ladders. You’ve been howling at the moon like a slack-jawed fool, and breaking every rule that they can throw on. But one of these days it’s gonna be right soon, you’ll find your legs and go, and stay gone.

Overall, though, God Willin’ has the feel of a contemporary Paul McCartney album; there’s some catchy tunes, some interesting stories, but nothing blows you away and no new sound is explored. On his previous albums, LaMontagne always had at least one song – either a foot-stomping soulful tune (“Three More Days”) or haunting folk ballad (“Jolene”) – that you couldn’t help but play again and again. And although I feel that the country and blues style is fitting for LaMontagne, his latest album is missing that one song that demands your attention.

Elsewhere on the web:

myspace | myspace.com/raylamontagne

William Elliott Whitmore – Animals in the Dark

kmanning — Sat, 04 Sep 2010 21:18:00 +0000

Click image to download full album

Sounds like: Justin Townes Earle, Tom Waits, Dan Auerbach

"William Elliott Whitmore - Who Stole The Soul"

What's so good?

Folk crooner William Elliott Whitmore’s Animals in the Dark is an album of anarchy, pain, and hope. The Iowa native’s raspy voice can make the most beautiful lyrics graceful and tender or the most painful words tug at your heartstrings.

Known for keeping a bottle of whiskey on hand during all of his shows, Whitmore’s voice is raw and sounds nearly burnt to a crisp. With a banjo close at hand, Whitmore’s Americana-folk tunes are relatable to anyone.

Growing up on a farm, Whitmore’s songs predominantly focus on the theme of small town life. Similarly, his music is stripped down to the absolute necessities. Many of his songs are only one instrument — a banjo or guitar — and his voice. His music is pure and filled with emotion.

“Mutiny” is the album’s opener, and thrives with pounding drums and devilish beats. Yelling at authority, the song leads into a chant: “We don’t need no water, let the motherfucker burn,” to top off the ultimate anarchy tune.

“Hell or High Water” nearly reaches the direct opposite side of the spectrum. The lyrics describe missing a loved one, yet wishing them the best in a hopeful, simplistic way. It pairs perfectly with an ice cold beer.

Now say a cheer, take a swig, sit back, and relax.

Elsewhere on the web:

myspace | myspace.com/williamewhitmore

Danny Brown – The Hybrid

sweeneykovar — Sat, 04 Sep 2010 17:32:00 +0000

Click image to download full album

Sounds like: Black Milk, Young Zee, Lil B

"Danny Brown - Generation RX"

What's so good?

Might as well get it out there early: Detroit-bred Danny Brown does not make politically correct rap music. He is misogynistic, violent, drug-glorifying, and all of the other horrible traits associated with hip-hop. He’s also an incredible lyricist, hilarious and deft at crafting street narratives that are multi-dimensional; he exposes the good, bad, and ugly of life on Linwood Avenue in the economically depressed Motor City. With a nasal-inflected flow and a skewed sense of humor, Danny Brown’s breakout LP The Hybrid is bound to make a strong impression on his audience one way or another.

“New Era” is a Detroit anthem with an arena-sized beat and ultra territory specific lines like “I’ve been in the D so long I don’t even like Coney.” Only locals and well-versed out-of-towners would get the joke and know that “Coney” refers to Coney Island, an über-popular Detroit fast food establishment. That’s the kind of unorthodox charm that The Hybrid showcases. Danny Brown isn’t so much coming out of his world as he is drawing the listener into his. Yes, the grim realities of Detroit slums prevail in the lyrics of the album with stark tracks like “Nowhere 2 Go,” but Danny is skilled enough to transcend the stereotypes.

“Generation RX” examines the effects of both legal and illegal prescription drug consumption with surprising critical analysis. “Thank God” is a very human take on Bridge cards, the Detroit equivalent of electronic food stamps, and the oft-neglected issue of nutrition in inner-cities.

However, it’s not a conscious album by any means; there are plenty of tracks whose subject matter don’t go past Danny’s dominance over other rappers, his mission to proliferate his penis as much as possible, and weird references to Carlton from Fresh Prince of Bel Air.

While it’s definitely not for everybody, those that are willing to overlook the personal flaws that Danny himself makes no excuses for might actually find themselves enjoying The Hybrid.

Download the album for free here.

Elsewhere on the web:

myspace | myspace.com/dannybrownrd

Preview: Restless People – Restless People

Nicole Cifani — Fri, 03 Sep 2010 22:58:58 +0000

Click image to download full album

Sounds like: Delorean, Vampire Weekend, Delphic

"Restless People - Victimless Crime"

What's so good?

You’ve got to hand it to a band who, when asked to describe their own music, will tell it like it is. On their website, Brooklyn-based Restless People describe their first single, Victimless Crime, as the following: “Finger point/boogie/windmill/2-step/ lie on bed and stare at ceiling/head bob/strut.”

The band certainly doesn’t come up short in the creative department. Comprised of four friends from the groups Tanlines, Professor Murder, and Family Edition, they formed Restless People by melding varied influences from punk to pop and from global to adult contemporary. Their self-titled debut album is catchy, multi-dimensional, and a great listen for summertime. It totally nails the au courant sound of that tropical, percussion-driven, big breezy feel of the season.

Restless People is out September 14th on IAMSOUND.

Elsewhere on the web:

myspace | myspace.com/restlesspeople

Klaxons – Surfing the Void

Curtis — Fri, 03 Sep 2010 21:17:49 +0000

Click image to download full album

Sounds like: Metronomy, Late of the Pier

"Klaxons - Echoes"

What's so good?

A brief summary of Klaxons’s demolition of the British indie scene: “Atlantis to Interzone” and “Gravity’s Rainbow” demos circulated on the net, the songs became staples of student indie nights, and very soon after, debut album Myths of the Near Future won the Mercury Music Prize, a unique accolade given to British artists based solely on creative merit.

The band exuded cultural style, not just a surge in catchy electro indie. Between 2004 and 2007, successful British bands typically cultivated images as ordinary lads discussing ordinary things (Arctic Monkeys, The Wombats, Kaiser Chiefs and The View). The minutiae of awkward social encounters and bus stops were par for the course.

However, Klaxons stopped it with their fascination for fantasy, space, and abstraction. With this band, a new class of artists — Foals, Metronomy, Late of the Pier — flitted between fun energy and highbrow, intellectual philosophising. It wasn’t just the music that put Klaxons on the front cover of NME every week: it was the ambiguous concept of “nu rave” peddled by the music press that, led by Klaxons, kicked “I Bet You Look Good on the Dancefloor” into touch and made it look irrelevant, unsophisticated, and grey.

Klaxons never liked the in-vogue connotation that came with the “nu-rave” tag, and just as well because NME’s infatuation with Klaxons subsided after their album tour. Surfing the Void is an apt name for the following three years, due to this album’s protracted creation and the negative publicity associated with recent live shows.

Fallouts with Polydor over new psychedelic songs deemed “too experimental for release” echo Geffen Records, who once tried to sue Neil Young for making music “unrepresentative of Neil Young.” In this environment, Klaxons went through three producers. For all the hype, very few critics have labelled this album a disappointment. Rather, there is a sense of foreboding in the mainly positive reviews. Telegraph writer Andrew Perry called Surfing the Void “a real victory from the jaws of defeat.”

My own take on Surfing the Void is that by ditching the recordings rejected by Polydor, the LP stays true to Myths of the Near Future as far as vibrant choruses and lyrical escapism goes (“clouds of diamond dust,” “riding the timewave’s origin,” etc.)

However, Surfing the Void is less compact than its predecessor: it is unrestrained and distorted. The comparison is similar to the first two Arctic Monkeys records: the debut had clear production and the follow-up was fuzzy and industrial. As it creeps with caution and intrigue, the off-kilter tension and screaming guitars on “Extra Astronomica” could be a track by Bloc Party. “Flashover” is similarly dark, and sounds like the creative outcome of “Atlantis to Interzone” warped into something angry and demonic. The organs on “The Same Space” and unsettling synth melodies on “Valley of the Calm Trees” add to the overall impression that something otherworldly is afoot. That sci-fi concept unites the album and generates a defining atmosphere.

Klaxons typically offer up vague comments to puncture the promotional circus when doing interviews. In one with ITN, Jamie mocks the irritating arrogance of critics and fascination with his band, saying, “It’s an enigma; figure it all out.” Their tongue-in-cheek suggestions and the record’s overblown futurism always point to their philosophising songs being a parody. They like the pomp. “Future Memories” lyrics (“The future’s in our memories/the past is just a guess”) would be at home in the dialogue of a sci-fi b-movie, for instance. A cat inside an astronaut suit: that’s mental.

Overall, I like this album, and I like it because the grandeur of the tracks comes out in a really fun and adventurous way. As I’ve said, I don’t think Klaxons aimed to make a revolutionary concept record; some people just take the mystique they pump into every song too seriously. To me, these 10 songs stick on repeated listens, and as “Echoes” continues its strong stint of radio play, Klaxons enter a new chapter. Hopefully it won’t be as ridiculed or pored over as their last.

Elsewhere on the web:

myspace | myspace.com/klaxons

The Horrors – Primary Colours

Kathlee Cleveland — Fri, 03 Sep 2010 16:15:45 +0000

Click image to download full album

Sounds like: The Vandelles, Joy Division, The Jesus and Mary Chain

"The Horrors - Scarlet Fields"

What's so good?

I used to make fun of goths in high school; now, I’m intimidated by them. The Horrors fascinate me because outwardly, they embody everything I hate about our generation’s music scene: the belief that looking like a member of The Clash means you are The Clash. Not true. That being said, there’s something different about The Horrors: they’re unusually good. Anyone can look the part, but I’m impressed if they can fill the shoes of their big-name punk predecessors.

Faris Badwan’s voice gives a bit more elegance to the band’s sound, which mixes post-punk with goth, a bit of Joy Division and The Jesus and Mary Chain. They mimic the sound of 80s punk rock with frightening accuracy, almost claiming the sound without shame. However, they add something different. They’re not merely followers — they’re revivalists.

The band, which began with a somewhat humble goth beginning in 2005, has since blossomed into a mature and experimental sound. Their album, Primary Colours, is a far cry from the early screeching of Origins. I know some people will fight me on this, but I can appreciate a band much more if I don’t feel like I’m being yelled at.

The Horrors soon began creating a stir in the punk scene, and rose to fame with the single “Who Can Say,” directed by Douglas Hart, bassist for The Jesus and Mary Chain. At that point, they transcended into typical punk stardom, with a league of goth girls thinking Badwan’s nose was “sexy” and Pitchfork hailing high reviews.

So why hasn’t anyone I’ve met ever heard of them? Maybe we’re not willing to admit that some 18-year-olds may revive 80s post-punk?

Elsewhere on the web:

myspace | myspace.com/thehorrors

Tycho – Coastal Brake (Lusine Remix)

Kyle Suss — Thu, 02 Sep 2010 19:59:45 +0000

Click image to download full album

Sounds like: Four Tet, Apparat, Prefuse 73

"Tycho - Coastal Brake (Lusine Remix)"

What's so good?

Let me take this opportunity to discuss my two favorite experimental artists with the Indie Shuffle community: Tycho & Lusine. Both artists create music under Ghostly International alongside those oh-so-sweet pop melodies of School of Seven Bells. Ghostly is a label that I feel focuses heavily on the quality of their releases as well as the innovation that comes with creating a piece of music. An art gallery as well as a design house, this once-coined “boutique label” has branched out to encompass all elements involved in creating a piece of art.

Scott Hansen, also known as Tycho or ISO50, is a musician, artist, and active member of the blogging community. Hansen’s blog, ISO50, has become the premier destination for new Ghostly releases and unique tunes to satisfy the avid electronic listener. But it doesn’t stop there. Hansen is also a designer, and the blog was originally created as a portfolio for his work. So expect to see some design-inspired posts incorporating elements like typography, photography, or even fashion.

After studying 20th-century electronic music and sound design for film at CalArts, Jeff McIlwain began creating music as Lusine. His ambient, uplifting, and abstract take on modern electronica has set him apart from the sea of artists that surround this broad category of music today. Each release features beautifully crafted melodic pieces intertwined with elements of glitch and downtempo that make for an original yet soothing listen.

Coastal Brake was released in late 2009 and features cover artwork designed by Hansen. Make sure to give the whole release a listen as each track has its own unique take on the original song, a rare occurrence in the world of remixes that we live in today.

Elsewhere on the web:

myspace | myspace.com/tycho

Preview: Röyksopp – Senior

Christiana Bartolini — Thu, 02 Sep 2010 18:06:56 +0000

Click image to download full album

Sounds like: Bonobo, Goldfrapp, Massive Attack

"Royksopp - The Alcoholic"

What's so good?

Ladies and gentleman, buckle your proverbial seat belts and prepare to blast off to Planet Röyksopp. This experimental electronic Norwegian duo is set to release their fourth album, Senior, on September 13th… and yes, this is one of the essential instrumental albums I’d bring with me if I were to move to a different planet and start fresh (a girl can dream). Surprisingly enough, this album flows in chronological order of my imagined future journey to and on Planet Röyksopp. It goes like this:

Track 1: You’re feeling nostalgic yet hopeful as you pack your things to start your life on such an unknown, yet promising planet. Your mind is racing so fast you can’t keep up with it; it almost mimics the sound of soaring through space in a rocket with a loud hum. You’re passing fiery stars, galaxies, even an asteroid or two (which this track encapsulates quite well with it’s atmospheric, airy undertone and overlaying compliments of buzzing bass, dainty keyboard, and zipping synthesizers).

Track 2: You’re on the rocket and this song happens to be playing. You’re psyched — almost too psyched to be able to sit still for such a long flight — and you haven’t even taken off yet. You can’t resist tapping your feet and bobbing your head (in an almost seizure-like manner) to the fast beat and intertwining synth. Then, just when you thought it wasn’t possible, Röyksopp throws in more synth. Layer upon layer upon layer, this song just doesn’t quit.

Track 3: You’ve landed. You step out onto this extremely foreign land and this song is playing, warmly welcoming you as you take it all in. Much more mellow than Track 2, but still encompassing a great beat. The sweet-sounding soft synths, gentle guitar picking, and birds chirping represent the feeling of comfort and hospitality that you feel as you absorb your new home’s environment in awe.

Track 4: You’re settled in, you’re surrounded by your loved ones, and you even like your neighbors. You’ve got this great hammock on your deck that you’re using the moment and this song comes on. Slowly swaying back and forth, you feel breezy, calm, cool, collected… it’s refreshing, just like this song: a quiet beat, gentle bass, random wind chimes, that shiver-inducing synth, and even a few melodies from a choir. Ahh, this is the life.

Tracks 5 & 6: There’s no way you’re leaving Earth and moving to a different planet without throwing a celebratory party. That’s what these songs are for. Upbeat, introspective, and constantly surprising you with a new layer of bass and guitar — and then taking those layers away just as quickly, but never disappointing. It’s infectious, sober or not. Sometimes you might catch yourself wondering if an alien is trying to contact you, or if that’s just a sound effect in the song. (I’ll go with the alien. They do exist.)

As for the rest of the album (there are 9 tracks total), I don’t want to give it away. But I will tell you this: it continues to bring the ethereal funk, no doubt about it. Use your imagination and see how life on Planet Röyksopp pans out with their upcoming release, Senior!

Elsewhere on the web:

myspace | myspace.com/royksopp

Andreya Triana – Lost Where I Belong

Nicole Cifani — Wed, 01 Sep 2010 21:37:58 +0000

Click image to download full album

Sounds like: Erykah Badu, Sade

"Andreya Triana - A Town Called Obsolete (Mount Kimbie Remix)"

What's so good?

It’s rare to come across a talented and successful singer with mainstream appeal – let alone one who also happens to be entirely self-taught. Andreya Triana is just that. She’s a singer/songwriter from Brighton with a soulful, hauntingly beautiful voice developed after years of working on her passion. Growing up, she spent her years writing, developing her voice and teaching herself how to loop samples – eventually turning her talents into a one-woman act.

She lent her vocals to glitch-hop producer Flying Lotus on the track “Tea Leaf Dancers,” which in turn caught the attention of both music tastemakers and label heads alike. Finding a home at the British Ninja Tune label, her debut album Lost Where I Belong was produced by Bonobo with several songs written courtesy of Fink.

Elsewhere on the web:

myspace | myspace.com/andreyatriana

Puerto Muerto – Drumming for Pistols

kmanning — Wed, 01 Sep 2010 17:05:04 +0000

Click image to download full album

Sounds like: Murder by Death, Chuck Barry, Beat Circus

"Puerto Muerto - Drumming for Pistols"

What's so good?

Tim Kelley and Christa Meyer, better known as Puerto Muerto, combine late 80s, blues, and cabaret music to produce Drumming for Pistols. The Midwest-based band (Kelley is from St. Louis and Meyer is from Chicago) blend deep vocals and haunting melodies throughout their songs.

Drumming for Pistols is an undeniably dark and gloomy album. Puerto Muerto uses cynical political opinions as undertones for their lyrics, but it’s done gracefully enough that it’s nearly imperceptible. Indeed, the duo pulls it off so well that it actually becomes enchanting, fun and beautiful. Their Midwestern roots have clearly impacted their music by fusing together a laid-back attitude and an obvious passion for their craft.

Gloomy yet soothing melodies, like the chant-like opening of “Song of the Moon” and “Hurting Now” capture the duo’s essence and their view on the world. They seem to let loose and have a little fun with the tantalizing “Beautiful Women with Shining Black Hair” that will transport you to a circus funhouse. “Seven Souls” reveals their softer side and resembles an organic type of doo-wop. The flowing lyrics and melodies take over as their voices lyrically bounce off one another.

Previously married, Kelley and Meyer divorced shortly after the release of Drumming for Pistols. However, their artistic compatibility will hopefully mean they’ll continue making music.

Elsewhere on the web:

myspace | myspace.com/puertomuerto

O + S – O + S

Kelly Scott — Tue, 31 Aug 2010 19:56:21 +0000

Click image to download full album

Sounds like: Cocteau Twins, Mazzy Star, Portishead, Azure Ray

"O + S - We Do What We Want To"

What's so good?

In the spirit of tradition and impatience for the new Azure Ray release (Drawing Down the Moon, 9/14), I sifted through my inefficiently catalogued CD collection to locate Orenda Fink’s 2009 side adventure, O + S. The aptly titled O + S is the workings of Orenda Fink (Azure Ray, Art in Manila) and long time friend Cedric LeMoyne (Remy Zero), who currently operates under the nom de plume ”the Scalpelist.”

The origins of the band initiated when Fink was invited to the esteemed Bemis Center for Contemporary Arts in Omaha to engage in an art residency. Embracing her love of nature, Fink decided to approach her project by collecting field recordings from diverse locales, ultimately leading her from Omaha to Haiti. Scooping up the Scalepelist along the way, the two transformed Fink’s project into a withstanding musical endeavor.

It’s perhaps not surprising that O + S sounds like an extension of Azure Ray, which is good (depending on the album), but safe. I thoroughly enjoyed that they pursued the practiced tactic of Fink’s previous work and incorporated tinges of Portishead. But where that pleases, it also predisposes the album to marginalization. Regardless, the pair do a commendable job at creating encompassing sonic landscapes and amplified atmospheric texture. The real personality of the album derives from the eclectic loops implemented from Fink’s travels, ranging from random street clamor to coffee shop conversations (“We Do What We Want To” and “Toreador”).

Not ones to monopolize attention, O + S have dwelled in obscurity for the bigger part of the past year, save the Grey’s Anatomy and Dollhouse appearance. With hope, I see this album filling fashion-forward establishments all throughout the country. Generous, digestible, and best served with a stagnant and reflective afternoon, the self-titled O + S delivers.

Elsewhere on the web:

myspace | myspace.com/opluss

Sea of Bees – Songs for the Ravens

Caden Moore — Tue, 31 Aug 2010 18:24:05 +0000

Click image to download full album

Sounds like: The Antlers, Beach House, Regina Spektor, Animal Collective

"Sea of Bees - Willis"

What's so good?

Listening to Songs for the Ravens by Sea of Bees makes me feel like I’m part of something special. Maybe it’s that the music sounds quite large and experimental, especially when compared to other indie folk acts. It could be the way the wide array of instruments on this album fit together seamlessly. Perhaps it is the way singer/songwriter Julie Baenziger’s unique voice sits in the center of your brain, and after a while seems to become part of your own inner monologue. Or most likely, it is all these things combined that makes Songs for the Ravens a truly unexpected and wonderful gem

Songs for the Ravens has more than your typical indie folk record. Unlike other female folk singers, Baenziger plays most of the instruments on the album, some of which she had never played before. The overdub-heavy nature of this music gives it a large, deep sound that both satisfying and impressive. Jules (as her friends call her) has a voice that’s unlike anything I have heard before: it’s high (and not in an outrageous Joanna Newsom way), but completely under control; it’s also thin, but full enough to stand out among the many layers of instruments.

One of the highlights of the album is the poppy electronic tune “Willis.” The song features fast-paced and clicky electronic drums (courtesy Wes Steed of Hearts and Horses) reminiscent of The Postal Service. The rest is a wonderfully crafted song that features beautiful vocal harmonies, floating synthesizers, and painful lyrics about feeling hurt and used (“I trust another boy, he held me out to dry/and used me for a good time, and made me lose my mind”). Although the lyrics are sad, the music feels optimistic in a way that makes you hope everything works out for the singer.

And I do hope everything works out for Julie Baenziger; she deserves all the praise she receives. This album displays her intuition when it comes to playing many different instruments, her talent as a vocalist, and her amazing abilities as a songwriter. A lot of artists release a few albums before they find their sound, but it seems like Sea of Bees nailed it on the first try.

Elsewhere on the web:

myspace | myspace.com/seaofbees

Robyn – Body Talk Pt. 1

Lola — Mon, 30 Aug 2010 22:54:27 +0000

Click image to download full album

Sounds like: La Roux, Kelis, Annie

"Robyn - Dancing On My Own"

What's so good?

Respect to the dinosaurs.

Five years ago, I moved to Sweden from New York. They had 3G video phones (not only in WiFi… ahem, Apple), drop dead gorgeous blondes in skin-tight skinny jeans (not the USA trend of bell bottoms, blah), and what stands out the most (other than the delectable women) is that they played Robyn everywhere I went.

Turn on the TV, we had Robyn smashing mirrors bald in her “Be Mine” video; turn on the radio we had the vintage “Show Me Love.” Well, I fell in love. Sweden is ahead in fashion, ahead in cool, and undoubtedly ahead with Robyn.

So, should I be surprised that in 2010 Robyn is still killing it with Body Talk Pt. 1? Nah, not really. The sassy little lady promises us three albums in this series, and as our lovely Ali G says, “Re-spect!” Robyn is a dinosaur in this complicated and corrupt music world, and Body Talk Pt. 1 proves that she knows how to stay alive through the ages.

Throw Diplo and Royksopp into the mix with eight refined tracks and you have magic. Nothing sounds the same, and that alone, my friends, is pure beauty. Starting off with a strong “Don’t Fucking Tell Me What To Do,” and you have an immediate blood rush and inner rebellion against friends, your parents, and ex or current lover. Tracks like “Dancehall Queen” and “None of Dem” reminds you that Robyn still connects with her urban side seamlessly. Also, “Cry When You Get Older” and “Jag vet en Dejlig Rosa” exposes her inner girl, delicately vulnerable. Watch the “Hang With Me” video and you’ll understand it all!

Favorite: “Dancing On My Own” — Boo: “Fembot”

Elsewhere on the web:

myspace | myspace.com/robynmyspace