Indie Shuffle » indie rock

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

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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

Preview: Blonde Redhead – Penny Sparkle

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

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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

High Places – High Places vs. Mankind

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

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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

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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

Bridges of Königsberg – We Have Many Faces

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

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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

Preview: Restless People – Restless People

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

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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

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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

Preview: Röyksopp – Senior

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

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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

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

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

SOLID GOLD – Synchronize

Cory Zechmann — Sun, 29 Aug 2010 22:53:53 +0000

Click image to download full album

Sounds like: Gayngs, Jeremy Messersmith

"SOLID GOLD - One in a Million"

What's so good?

I grew up in a suburb of Minneapolis, but never got into Minneapolis’s music scene until I went out of state to college. Freshman year, a few friends got me into some of the local talent there, mostly artists from Rhymesayers, but I also explored a little deeper myself. In my search, I managed to find some of the most talented musicians I’ve heard in a long time. Here’s how I unearthed a few of ‘em:

A couple years back, I was skimming through some local Minneapolis groups on a forum when I discovered a group with a peculiar name — Mel Gibson and the Pants. I didn’t expect much from this oddly named group, but, to my surprise, their sound was like no other. I can best describe it as a mix of hip-hop, rock and drum & bass. Sadly, the group hasn’t done anything in a while, but when I heard Ryan Olson, mixer for the group, was starting up another project, I had to check it out.

Gayngs is a mega-group consisting of 24 members, according to Olson. I loved their soulful seduction right from the start, but not just because of Olson’s contribution. What really put me in awe, or rather who, was the stunning vocals of SOLID GOLD member, Zach Coulter.

As you can imagine, my next step was to check out SOLID GOLD’s solo work. At first, to my dissapointment, I wasn’t really feeling their album. Bodies of Water wasn’t what I expected, and took some time to fully engross myself in its awesomeness (my best descriptive word for it). But eventually I warmed up to their glam rock, synth pop sound – or however the hell you classify ‘em – and haven’t been so impressed with a rock group since.

All three groups may not hold a large portion of Minneapolis’s music fans, but they do represent a small gem, or gems, in one of the best underground music scenes today, the Twin Cities!

Elsewhere on the web:

myspace | myspace.com/solidgold

Apache Beat – Another Day (Blood Diamonds Remix)

Kyle Suss — Sun, 29 Aug 2010 16:49:07 +0000

Click image to download full album

Sounds like: Crystal Castles, We Are Scientists

"Apache Beat - Another Day (Blood Diamonds Remix)"

What's so good?

Its been a long time since I’ve been on a cruise. I remember lots of singing, dancing, music, drinking, and even the occasional limbo contest on the upper deck. Combine all of that with a journey around some of the most exotic locations and I think you have the perfect recipe for a great time.

What does this have to do with anything, you may ask? Well, my friend, close your eyes and play the Blood Diamonds Remix of Apache Beat’s new single, “Another Day,” and prepare to be taken on a trip of tropical proportions. See the palm trees sway as you dance your way off the ship into an island paradise full of excitement and adventure. Relax along the shoreline sipping Piña Coladas while you watch the sun glisten on the horizon. This is an experience that you will always remember, but before you know it, reality sets in and its time to go home.

For Apache Beat, home is in New York where the band has been working on their upcoming album, Last Chants. Singer and style connoisseur Ilirjana Alushaj describes the band’s sound as “melancholic, hallucinogenic, experimental pop, indie rock” in a recent interview with Australian magazine CLEO.

I think its safe to say we can expect to hear more about this band come October 5 when the album is set to release.

Elsewhere on the web:

myspace | myspace.com/apachebeat

James Yuill – Movement In A Storm

Jennifer Kahn — Thu, 26 Aug 2010 20:54:01 +0000

Click image to download full album

Sounds like: Postal Service, Sufjan Stevens, Justice

"James Yuill - On Your Own"

What's so good?

“Folktronica” is a troublesome and somewhat cringe-worthy label frequently used to describe the music of UK artist James Yuill. First of all, Yuill’s music consists mainly of elements that are more acoustic/indie than traditional folk, and more house than electronica. Also… “folktronica”? That’s just a ridiculous word, period.

Technicalities and crazy labels aside, Yuill creates his own blend of danceable synth beats infused with singer-songwriter soulfulness, with gorgeous results. His 2008 release, Turning Down Water for Air, was driven by layers of airy vocals, acoustic guitar and dance-ready hooks that exuded a bubbling warmth.

I was completely enamored with “This Sweet Love” — it had the perfect mixture of tender lyrics and synthetic blips to melt my heart. “No Surprise” and “No Pins Allowed” were also in frequent rotation on my iPod.

Yuill’s newest album, Movement In A Storm, released in June earlier this year, trades in some of the poppy cuteness for a heavier tone and slightly more aggressive beats. It still has that trademark Yuill shimmer though — the song “On Your Own” glitters with light, tinkling synths that sound a little like wind chimes. I would say this and “Crying for Hollywood” — an upbeat dance track layered with guitar — are tied as my favorite songs of the album.

One thing that threw me about Movement In A Storm was the opening line of the first track, “Give You Away”, in which Yuill sings, “Nobody knows it, but it’s true / I hate myself and I hate you too.” I understand that part of the point here is to mix some melancholy with something fun and danceable, but in this case the angst just seems a bit over the top.

Movement In A Storm can be thought of as a kind of mix tape — you’ve got some mainly acoustic tunes, (“Foreign Shore”, “Wild Goose At Night”), some mainly electronic (“Give You Away”, “My Fears”), and some that are a mix of the two (“Sing Me A Song”, “Ray Gun”). The title of the album works well in describing the different genres explored within — it shifts between a thunderstorm of dance beats to a light patter of guitar strums, but all still falls under the general acoustic-electronic cloud we’ve come to know James Yuill for.

Elsewhere on the web:

myspace | myspace.com/jamesyuill

School of Seven Bells – Disconnect From Desire

Holly Wang — Thu, 26 Aug 2010 03:18:27 +0000

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Sounds like: Asobi Seksu, On!Air!Library!, The Depreciation Guild, Memoryhouse

"School of Seven Bells - Windstorm"

What's so good?

School of Seven Bells’s first album, Alpinisms, is known for its dreamy drone and noise elements. While that is carried over in their sophomore album, Disconnect From Desire is brighter and more accessible.

To be honest, the first time I heard it I was a bit turned off. When I first listened to Alpinisms, it stayed on heavy rotation for a while. This wasn’t the case with Disconnect From Desire, and I immediately attributed it to a sophomore slump. But after further listens, I’ve realized that the band’s second album is pulling from more influences than the first.

“Heart is Strange” is tinged with sounds of 80s synthpop and “ILU” is reminiscent of a ballad. This album is definitely more “pop” — it’s happier, the lyrics (in line with their first release) are also somewhat repetitive and melodic. If you are looking for something along the lines of their darker, moodier debut album, I’d check out the song “Babelonia,” which fits right in between the two albums. It is melodic with an Eastern influence, but also has the pop quality that is prominent in this release.

The second album has definitely shown growth as the band has taken their shoegaze/dream-pop music and fused it with a more polished pop sound without losing the fuzzy distorted noise splashed between the vocals. Using more traditional pop structures in their music, they’re able to open their work to fans who are drawn to anything they can dance or sing along to.

However, I wouldn’t count on them being too pop in their live shows. When I’ve seen them, they’ve been able to conjure up a huge noise wall, with beautiful melodic vocals (think of a throwback to My Bloody Valentine). I’m excited to see where this band goes next, as their last track on the album, “The Wait” (aptly named after the song “Bye Bye Bye”) is a melodic etherial ballad that could mean a totally new direction on their third album.

Elsewhere on the web:

myspace | myspace.com/schoolofsevenbells

Teen Daze – Four More Years

Caden Moore — Wed, 25 Aug 2010 22:06:29 +0000

Click image to download full album

Sounds like: Toro Y Moi, Washed Out, Daft Punk, M83,

"Teen Daze - Shine On, You Crazy Whitecap"

What's so good?

It’s been a little over a year since Neon Indian’s first few tracks found their way onto my iPod. At the time, I did not know what chillwave was. In fact, I am not sure if the term was even coined yet. Fast forward one year and it has exploded; chillwave bands have been playing the all big summer music festivals, releasing acclaimed albums, and occasionally seeping through into the mainstream. However, these days it seems like anyone with a Macbook and GarageBand can sample an 80s song, add reverb, post it to their Tumblr and call it chillwave. With so many amateurs and wannabes, it is good to see that some chillwave acts have gone beyond the usual formula.

One of these acts is Vancouver’s Teen Daze, a fairly new contender who seems to be offering more than other chillwave artists. Buried beneath the hazy synth chords and deep drum beats is a guy who knows what he is doing. It seems that the songs off of Four More Years rely less on gimmicky production and are carried by the actual songwriting and musicianship.

These songs are full sounding and brave enough not to hide behind a lo-fi aesthetic. While chillwave vocals are notoriously lazy, Teen Daze’s singing is impressive. As far as I can tell, everything is organic and there is not a lot of sampling going on — something that’s pretty rare for this type of music. There is a strange versatility to the album; at times I am not sure if I want to be lulled asleep or take a road trip along the California coast, fueled by MDMA. Songs like “Around” provide the perfect blend of New Order bass lines, Crystal Castles synth arpeggiators, and shoegaze vocals that are just the right amount of buried.

Maybe the reason Teen Daze sounds so separated from its contemporaries is because it is not chillwave at all, or at least not completely. There are definitely some influences that are not within the glo-fi realm; the breakdown in “Spin Around, Go Ahead” would sit nicely on a Daft Punk record, the echoic vocal samples throughout the album are reminiscent of Boards of Canada, not to mention the ode-to-youth lyrics are right out of M83′s book.

So is Teen Daze just another chillwave act? Is it the future of chillwave? Or something else entirely?

Whether you want to call the music dream pop, shoegaze, synth pop, or chillwave, Teen Daze is surely an act to keep your eye on.

Elsewhere on the web:

myspace | myspace.com/teendaze

Interview: Man/Miracle – The Shape of Things

Bryan Mojica — Tue, 24 Aug 2010 21:44:55 +0000

Click image to download full album

Sounds like: Akron/Family, Vampire Weekend

"Man/Miracle - Hot Sprawl"

What's so good?

In a summer over-saturated with lo-fi, chillwave, dubstep, and innumerable remixes of seemingly every mediocre song that hits the blogosphere, a chronic disease runs rampant: dry palate. Personally, I’ve accumulated 15 gigs of ‘”new music” in the last 3 months and the consumption is largely comparable to eating a box of powdered donuts without any milk to assist with lubrication. The overall colorless, tedious listening is attributable to artists flogging the above-mentioned: trendy sounds lifeless. All too often it seems the releases are more an attempt to fit a genre/scene and generate “mad hits” versus serve as an expressive outlet of art, energy, or passion.

Considering this current atmosphere of indie music, Northern Californian quartet Man/Miracle’s edgy, vigor-soaked rock LP The Shape of Things is an essential quencher to dry neglected receptors. After fifteen seconds of scratchy, muted picking, the album’s single “Hot Sprawl” takes course with dual guitars ringing outward while joined by crisp percussion and lead singer Dylan Travis’ instantly-enrapturing voice. This is one of Man/Miracle’s favorite tracks to play live because it “usually leads to dancing” (see interview below) and understandably so: the percussion-driven refrain is a spirited masterpiece. After a tonal breakdown led by drummer Tyler Corelitz’s supreme fills, each element rebuilds and exalts in its own right: Travis yells, tambourines roll, Corelitz snaps on the snare, and guitars defiantly squeal.

If this synergetic orgasm doesn’t uplift you in any way, check for a pulse. Similar highlights are widespread throughout the 10-song LP, yet The Shape of Things is positively shapeless. No two songs sound similar as the group is unconfined to a distinct, solitary sound. Instead, Man/Miracle have truly crafted a fresh, unabridged full-length album (a definite rarity in this era of singles and EPs) where they succeed in skillfully interweaving rebellious noise and rock with pop undertones – all the while brimming with energy and zeal. The result is an enthusiastic standout on the year, and a taste that will have listeners eagerly awaiting live performances and a sophomore release.

Special thanks to Dylan Travis, who was gracious enough to take the time and answer some questions. Enjoy and be sure to check out Man/Miracle’s sun-kissed, feel good video for “Pushing and Shoving” at the end of the article.

Who are Man/Miracle and how did you guys meet?
We are four dudes — Dylan, Brian, Ian, and Tyler, though Ian is moving on to bigger and better things at the end of the month, and we’re being joined by Emery Barter. Dylan and Tyler met on a T-ball team in the tiny town of Los Osos, California. Ian and Brian joined in Santa Cruz. We now all live in Oakland, which is where we met Emery.

What does the name “Man/Miracle” mean?
It’s meaningless by design — two of the most loaded words in our language meant to describe the indescribable. We came up with it because we were having difficulties finding a name that encapsulated what we were all about. So we picked something that explains everything and nothing.

How would you describe your sound?
All I know is that it’s constantly changing. In the past it has been chaotic, but controlled, with tons of energy. The new stuff we’ve been writing has been leaning more towards bittersweet, stoned, and nostalgic, but still energetic. I think we might roll with that for a while.

Is there a general theme (as far as lyricism) on The Shape of Things?
Yes, The Shape of Things is about growth and death and creativity and destruction and the eerie way that those things all tend to occur at once. It’s about adjusting to adulthood and living in less-than-stellar situations out of necessity, while trying to stay sane and keep some hope going. There’s some love songs on there too.

Your video for “Pushing and Shoving” is one of my favorites of the year. You’re playing an intimate show for friends – was this just for the shoot or was it a ‘real’ get together?
That was actually one of the tamer parties that occurred on that roof. We still have shows there, though I don’t live in that apartment anymore. The original idea was to have it just be the sand dunes stuff, but we decided to bring a camera to one of the shows we were putting on, and some of the best footage came out of that.

Can you tell me a little about the making of the video/where the shots take place?
Half of it was filmed at a party we had at my old house in east Oakland, which is on International Boulevard. The other half was in our hometown, Los Osos, on the sand dunes—sort of a spiritual place for us, and some of the most gorgeous dunes in the world. It was made by Josh Lowman who is quite talented.

What’s your favorite song to perform live?
I love playing our new songs, but “Hot Sprawl” usually leads to dancing. “It’s Already There” is a new jam I really like singing.

What music are you currently listening to?
I’ve been heavy into beauty and despair lately—lots of Cocteau Twins, Dead Can Dance, Zola Jesus, Slowdive, Diamanda Galas, Smashing Pumpkins, and certain Kurt Vile EPs. I also like Gun Outfit and The Pains of Being Pure at Heart.

Is there one artist/group that all 4 of you love?
Yes: TUNE-YARDS

What is the most shameful song on your iPod?
I have no shame. But I have some songs my girlfriend wrote me that I listen to a lot, which is pretty dorky.

Elsewhere on the web:

myspace | myspace.com/manmiracle

Preview: of Montreal – False Priest

Kyle Suss — Mon, 23 Aug 2010 22:42:20 +0000

Click image to download full album

Sounds like: The Blow, Peter Bjorn And John

"of Montreal - Hydra Fancies"

What's so good?

Did you ever imagine a time where the theatric glam-pop band of Montreal would compare one of their albums to a Dr. Dre track? Well, that time is now. Sort of.

According to frontman Kevin Barnes, False Priest, which is set to release on September 14, incorporates several musical elements that we are not used to hearing from the group, like deep, pounding bass. Blast some of Montreal in your car and it sounds almost like Dr. Dre, right? That’s a bit of a stretch, but Barnes says that he worked with Jon Brion, co-producer of Kanye West’s Late Registration, to enhance the record and add a little of “the low end,” as he calls it, that was so prevalent in classic hip-hop.

The band’s tenth album also features appearances by Solange Knowles and Janelle Monáe, giving the record an R&B twist while still maintaining that element of danceability we have come to expect. This slight deviation from style creates a sense of unpredictability that Barnes claims is essential in his music taste:

“We try to have these “holy fuck” moments where you’re really having your mind blown, especially if you’re listening to it on headphones.” – Pitchfork

And this album is nothing short of whimsical. With eye-opening lyrics like “we dance for miscarriages” and “now I see your face selling Chinese urine,” Barnes shows that he is a man of his word.

Did we expect anything less?

Elsewhere on the web:

myspace | myspace.com/ofmontreal

Air 2 A Bird – Crow Hill

Cory Zechmann — Sat, 21 Aug 2010 17:52:28 +0000

Click image to download full album

Sounds like: Abyssinian Creole, Blue Scholars

"Air 2 A bird - We Gon Get It"

What's so good?

Air 2 A Bird was born out of an unfortunate incident, to put it kindly. Gabriel Teodros was beginning his world tour in London when he was stopped by border patrol. He was subsequently sent back to New York and the tour was cancelled. Fortunately, though, this is what sparked Gabriel to team up with Amos Miller and collaborate as Air 2 A Bird.

The band’s first LP, Crow Hill, has an interesting theme to it. Along with their group/album name, the instrumentals center around birds. It took some time to get my head around it, but I’m getting use to the sounds of nature in a lot of different music these days, and I like it. Birds aren’t the sole theme on Crow Hill, however, there seems to be an underlining topic in the lyrics as well.

From the start, the two make their issue with Heathrow’s border security clear – it was partly the reason for Crow Hilll‘s creation. But other than that, there’s nothing but love in this album. It’s painted with that soulful flavor I’ve grown to love with these two, considering they also worked on Gabriel’s Lovework together. Crow Hill may not have stacked up to Lovework‘s consistency, but it definitely had its moments.

“Let’s Ride” caught my attention first with its smooth beat and soulful chorus. The duo, however, didn’t flow on this one nearly as well as they did on the next track, “We Gon Get It”. Both were as fluid as the air is fine, especially with that fun-loving beat reminiscent of an Abyssinian Creole joint – another one of Gabriel’s previous projects. If you want to check out the rest of their album head over to Air 2 A Bird’s Bandcamp for a listen.

It’s good to hear the last word wasn’t that of a foolish misconception, but of a certain humility that could only be told by ’2 songbirds from the 206′.

Elsewhere on the web:

myspace | myspace.com/gabrielteodros

Arcade Fire – Sprawl II (Tommie Sunshine’s Quaalude Edit)

Holmes — Sat, 21 Aug 2010 00:38:12 +0000

Click image to download full album

Sounds like: Wolf Parade, Them Jeans, Built to Spill

"Arcade Fire - Arcade Fire - Sprawl II"

What's so good?

What really makes the rock-star look is the hair. Hendrix knew it. Jesus knew it. And clearly LA’s rock star DJ Tommie Sunshine knows it, as a pair of scissors have apparently not come near his head in years. Sunshine, who resembles a fashionable Lebowski and created a name for himself in the mid-90s rave scene, has since become the go-to remixer for big label pop rock, having remixed singles from such make-up-ridden bands as Fall-Out Boy, Good Charlotte, Panic at the Disco, Shiny Toy Guns, Kill Hannah and P.O.D.

This go-round, he lays his hands on urban planning anthem “Sprawl II” by Canadian piano-band Arcade Fire (who you might have heard of). Sunshine smartly leaves most of the song intact, opting to use a simple kick-clap, a brooding bassline and a few simple effects creating the necessary kick to make this a 2 a.m. killer without robbing the track of its uplifting harmony. Perfect to end the night on a high, before the crowd heads back to their homes among the mountains upon mountains of dead shopping malls.

Elsewhere on the web:

myspace | myspace.com/tommiesunshine

Slingshot Dakota – Their Dreams Are Dead, But Ours Is The Golden Ghost!

Kelly Scott — Fri, 20 Aug 2010 21:46:54 +0000

Click image to download full album

Sounds like: Mates of State, Los Campesinos, The Blow, Rainer Maria

"Slingshot Dakota - Until The Day I Die"

What's so good?

With two piece drum/synth bands sprouting up everywhere, I’m frequently visited by an outstanding memory of Mates of State at the 2008 Popped! Music Festival. Mates, by no surprise, dazzled. Booming through a thrilling set, properly utilizing urgent skinwork and premier showmanship, they succeeded with distinction in capturing the true essence of the minimalist structure. Moving towards the point, they’ve set a high bar for the genre.

So when a friend suggested an up-and-coming band working a similar angle but integrating a few of their own spices, I thought, another one? How original.

Slingshot Dakota is the combined forces of Carly Comando and Tom Patterson. Unconsciously, you may already know Carly. In 2007, her solo composition ”Everyday” made quite the splash. The song appeared in an episode of The Simpsons and the NBA promotional commercial, “Where Amazing Happens.” To be honest, I wasn’t immediately thrown by them until I caught them live.

Seldom do I hear a Fugazi cover, and thankfully. Often, the punk ethos that should accompany and elevate the attempt is rarely present, debasing the interpreting author and insulting the original. So when the opening notes to “Waiting Room” emerged from Carly’s keyboard, expectations were microscopic. Despite the grand risk, they went for it and to my surprise, triumphed over the challenge. What followed next could only be described as an entanglement of vitality. I was awed.

What’s great about successful two piece acts like Slingshot Dakota is that, though small in number, they are fully capable of producing a grand impression of sound that thoroughly resonates within natural spaces. The pair continued the set with the vibrant “Wave”, “Ohio”, and a new personal favorite “Until the Day I Die”, all equally impressive with enduring verve. Their latest effort, Their Dreams are Dead, But Ours Is the Golden Ghost! , is just phenomenal indie rock, bursting with sincerity and entrancing radiance at every intersection.

Overall, this is a band worth knowing. Carly and Tom are masterful at injecting passion into a performance and whipping an audience into an emotive frenzy. The band will most likely be covering a lot of geography over the next year or so, be sure to check them out.

Elsewhere on the web:

myspace | myspace.com/slingshotdakota

Geographer – Animal Shapes

Jennifer Kahn — Fri, 20 Aug 2010 17:53:04 +0000

Click image to download full album

Sounds like: Yeasayer, Grizzly Bear

"Geographer - Kites"

What's so good?

Geographer first caught my attention with the bright synths and lush, floating vocals in the single “Kites” off their EP Animal Shapes. About 45 seconds in, the song bursts into a flurry of electronic layers with cello woven into the mix as well. It’s just a gorgeous song — danceable, but with some hints of melancholy just underneath the surface.

The band formed as a kind of catharsis for lead singer Mike Deni. In 2005, after the deaths of his father and sister, Deni left his hometown in New Jersey for San Francisco where he eventually met band mates Nathan Blaz (cello, electronics) and Brian Ostreicher (drums). Their 2008 record Innocent Ghosts captures these feelings of loss and loneliness, but also manages to bring out a sense of hope and exuberance somewhere on the horizon.

Some of my favorite tracks (“Rushing In, Rushing Out,” “Caught A Fire”) feature vocals from Kacey Johansing; there’s something really beautiful about her strong, folksy voice combined with Deni’s more somber vocals. On Animal Shapes, Geographer moves in a livelier and more experimental direction from Innocent Ghosts, the result of touring around clubs in the Bay Area and honing a sound better suited to live performances.

In a recent interview Deni says, “I want to make soulful music from outer space,” which is exactly what Animal Shapes is — a densely textured tapestry filled with all sorts of otherworldly sounds. With the exception of maybe the first track, every song title seems to be about the sky (“Kites,” “Heaven Waits,” “Night Winds”) or far-off places (“Verona,” “Paris”).

This is a band that wants to take you on a journey and explore new territories of sound; even the band’s name, Geographer, suggests this kind of musical wanderlust. The EP was released in March this year, but passed under my radar at the time. It’s definitely worth backpedaling to take listen it to now, along with Innocent Ghosts — these guys are not ones you want to miss.

Elsewhere on the web:

myspace | myspace.com/geographermusic