Artist Of The Day: Tawny Peaks

What better time to talk about Tawny Peaks than in the days before March Madness? The twinkly emo band came out of the depths of New Jersey to release one of the strongest efforts of the genre of 2012 with their self titled album. The dual vocal dynamic of Charlie Perris and Molly Grund is easily the group's distinguishing feature, as they pull off a technique that is rarely (if ever) used in modern emo music. Perris's voice isn't classically strong, but its empathetic quality is endearing while Grund's sweeter timbre makes the uncharacteristic harmonies work. Grund also takes the lead on the acoustic album highlight "March Sadness" (hence the opening reference). The band also shows an ability to use unconditional song structures and techniques knock them out of the park, best shown on fan favorite "Collect Calling." As the vocalists repeat the line "You act like the world's one giant fuse waiting to blow / And every tiny tremor digs into the very center of your soul," the song gradually speeds up, moving from a snail's pace to a sprint in only four repetitions. The band was just recently signed to Glass Nail Records, and is another great edition to the label's growing collection of talent. The label is finally issuing the record on vinyl, and while it doesn't look like it's going to ship until summer, be sure to get your orders in before it sells out. You can download the whole album for free on Bandcamp, and be sure to order the record here as well.

Artist of the Day: The Knife

A lot has changed since Swedish electronic duo the Knife put out their seminal third album Silent Shout in early 2006. Burial reinvented eerie minimalism, Skrillex won two Oscars, and James Murphy put dance-punk and the entire decade to bed. Most notably, the moody synth-pop the Swedes so avidly and effectively championed became unimaginably trendy. And now, between the lightning-fast ascension-descension of MGMT and the floundering emptiness of chillwave, synth revival may have just run its course. But the Knife is back, there’s no denying that, and their absence has given their image time to grow to a heroic level. Sure, they wrote an opera, and vocalist Karin Andersson had some real success with her trip-hoppy side-project Fever Ray, but the people want the Knife! Well, the Knife is what they’ll get.

Artist Of The Day: Rorcal

Winter is the perfect season for metal. They go hand in hand, truly; with early nights in the cold season, what better way is there to call in the day by blasting some of the darkest genre of music? Sadly, winter is on its way out, but it is fairly safe to say that new metal releases are only beginning. Enter Rorcal, with their third album released late last month. Unfortunately, I was unable to review it within a timely period, but I still wanted to talk about the album, which fits the style of their debut, Myrra, Mordvynn, Marayaa in the sense that it divides the tracks up in a conventional way, but very much hearkens to their prior release, Heliogabalus in terms of musical experimentation. The atmosphere on Vilagvege is well constructed, beautifully set-up by "I" and featured first on "D." However, after the black six begin (tracks "II" to "VII"), the tempo speeds up, leaving the traditional doom feel behind and working their way towards blackened death metal, which is a departure from Heliogabalus in both concept and sound. The change may not be welcome to some, but I think Vilagvege is one of the best metal releases out this year so far.

You can listen to the new record, as well as the rest of Rorcal's discography, on Bandcamp for free.

Artist Of The Day: Hookworms

Much of the recent hype surrounding Hookworms has centered around their supposed association with the 'new psych' scene, an umbrella which also covered last year's poster boys Toy amongst others. Attachment to such a dubious movement, however, doesn't do justice to a group who've emerged with one of 2013's strongest debuts, having spent the past three years simmering and pruning their sound to near-perfection. A mind-bending, mushroom flavoured combination of Spritualized's spacey exploration, Neu!'s krautrock dealings and My Bloody Valentine's sonic terrorism, Pearl Mystic is the type of accomplished, cohesive statement many band's spend their whole careers striding towards. Characterised by the persistent throb of bass and an intentionally murky production, it's a record which could eat its way into your conscience like the small, parasitic creatures their name depicts, albeit in a decidedly more consensual, not to mention pleasurable manner. If they have to attributed to a scene, then surely it's that of their hometown Leeds; one that's experiencing something of a boom, and may well have produced its finest outfit to date.

Album Review: Orphans - Pack Mentality

Album Rating: B

There seems to be a growing trend within hardcore music, and it’s a most welcome trend too. An increasing number of bands are showcasing their ambition by moving away from the short sharp shocks associated with older hardcore outfits, in favour of atmospheric instrumental passages and drawling harsh vocals. This not only results in a broadening of horizons but a fleshing out of material, a definite positive for fans of hardcore who feel frustrated by the abrupt endings and at times half-baked ideas which they’d rather see built upon. Naturally there are bands still prevalent within the genre who are delivering these bite-sized packages of brutality as is their fundamental popularity, but the likes of Circle Takes the Square and Rinoa are challenging the status quo in recent years with stunning releases.

Jukebox: Reso - Axion (KOAN Sound Remix)

It's no secret I'm a huge KOAN Sound fanboy. I love everything they do (even "80s Fitness," which I disliked in my review of The Adventures Of Mr. Fox), and it seems like everything they touch turns to electronic gold. I would like nothing more than to see them live sometime soon, and I'm bummed that on their North American tour on which they are embarking this month they pass right by my hometown. That being said, though, the KOAN Sound remix of Reso's "Axion" is excellent even by my standards for the duo. We loved the original track (and full album) in our review of Reso's Tangram, and KOAN Sound has upped the quality of an already incredible song with their rework. The dubstep-to-glitch-hop treat is absolutely massive, and it's full of all the neuro-esque wobbles and funky beats for which KOAN Sound is so famous. The first half, at 140 BPM, sees the Bristol-based duo take on almost Rockwell-like levels of complexity with crazy amounts of cymbals and toms, and they succeed on every level. What's more, the bass is chest-rattlingly good, the mid-range whipping wobbles are placed perfectly over every section, and the quick breaks in the middle work really well. After a seamless transition to 100 BPM, the newfound "neurohop" section utilizes an undeniably funky beat that synergizes excellently with the neuro wobbles KOAN Sound uses so well. The transition, however brief, is a treat to listen to, and it proves the duo's chops over a glitch hop beat. Overall, though, the remix of "Axion" is KOAN Sound doing what they do best and then some. It's an incredible tune, and I'd hazard a guess that it will end up being one of the top songs of the year - full stop.

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KOAN Sound's Facebook/KOAN Sound's Twitter

Artist of the Day: Harvey Pekar

Good artists borrow, but great artists steal. Cleveland post-hardcore outfit Harvey Pekar may borrow their name from the city's famous cartoonist, but the music they make is anything but funny. The five-piece plays an aggressive punk rock with hardcore influence that is absolutely relentless and cathartic, coupled with an experimental lyricism that makes the band one of the best in Cleveland's punk scene.

Album Review: Justin Timberlake - The 20/20 Experience

Album Grade: A

10 years ago, who would have thought the “Cry Me a River” kid would have done this? In a little over a decade, Justin Timberlake has gone from a former boy-bander with a fresh haircut, trying to convince the world that he is to be taken seriously, into the savior of pop music. In the interim between Justified and now, Timberlake has reminded the world that Timbaland is a producer-de-jeur, released one of the most iconic pop records of the 2000’s (the genre-bending FutureSex/LoveSounds,) and purchased MySpace. Needless to say, he’s come a long way from his “Bye Bye Bye” days.

Artist of the Day: Tera Melos

Tera Melos has progressed immensely in the last eight years. Hark back to 2005, where one can find a wildly confident math-rock-esque group toying with instrumentation like a kid on a playground. Tera Melos' self-titled album was all over the place, in terms of both cohesiveness and scope. After all, the album ended with a 20+ minute experiment into how expressive full-fledged noise can be.

Jukebox: City and Colour - Of Space and Time

Dallas Green might just possess my favourite singing voice of all time, and I know I’m not alone. Since the 2004 release of Watch Out! by the seminal Alexisonfire, Green has built a reputation as an angelic vocalist, so much so that it was no surprise to see him leave the brash post-hardcore heavyweights and begin a solo career that focused on soft acoustics and his key attribute; his voice. His solo releases thus far have undisputedly proved one thing - he doesn't need to be juxtaposed against the ferocious growls of former band-mate George Pettit in order to excel and amaze. A voice alone, however, wouldn't be enough to carry any artist, and fortunately Green possesses the song writing ability to confidently back it up.

Watch This: Pentatonix and Lindsey Sterling - "Radioactive"

Superstar acapella quintet Pentatonix has always been a dynamic force on its own, but in this cover of Imagine Dragons' "Radioactive," the power of collaboration propels its sonic force into a completely different solar system. The group recruited violinist Lindsey Stirling to play with here, a smart choice considering both artists' philosophies: in recent years, Pentatonix has made acapella hip again with innovative arrangements, an abundance of personality, and a willingness to mix genres like SyFy villains mix chemicals, while Stirling has been integrating her rowdy string playing into songs that sound like they got lost on their way to the Billboard charts.

The cover is arranged in a way where the vocals and instrumentals dance around each other in subtle but powerful ways. It's an intelligent rendition of the original, never losing sight of the mounting urgency depicted in its lyrics or the pandemonium of its climax (try and see if you can catch each individual voice in the ending--easier said than done). The video is a visual treat as well; the post-acopalyptic setting is washed-out but dripping in atmosphere, while the composition--tense shots of strings stirring back and forth, shots of isolated survivors singing to themselves, Scott Hoying staring into the basement of your soul--conveys an undeniable sense of dread building within each character before everybody comes together in the explosive chorus. It's at once a world removed from our own and one strangely tethered to it nevertheless, a warning of where things might be headed come 2025 wrapped up in elegant pop hooks and soulful choral vocals. And if these folks have it their way, things might go nuclear before long.

Both Pentatonix and Lindsey Stirling are on tour, so go check 'em out. You can also subscribe to their YouTube pages here (and journalistic objectivity aside, you really should):

Pentatonix
Lindsey Stirling

Artist of the Day: Jessie Ware

From humble beginnings as a sample vocalist working with London-based DJ SBTRKT, Jessie Ware released her debut album last year to widespread critical acclaim but little recognition in the United States. Once word about Ware gets out, however, it shouldn't be long before she becomes an across-the-pond sensation in the same manner as Adele. After all, the two share a talent for big-voiced ballads about men who broke their hearts. Ware, however, breaks the mold of the traditional breakup songs. On "Wildest Moments," she reflects on the relationship from nearly every perspective rather than wallowing in her own emotions. "110%" finds Ware in a moment of pensiveness, pondering what makes a healthy relationship work and how much effort is necessary. More than anything else, she seems to be a genuine human; as ready to accept blame as to give it out- a fresh break from the contemporary "I got dumped and he sucked anyway" motto that pop starlets tend to embody.

Album Review: Geskia! - Silent of Light

Album Rating: A

Amidst crazy dash-cam videos and the introduction of tentacles to all kinds of unholy places, Western culture is now well accustomed to looking east in order to fulfill its taboo-defying quota. When it comes to music, it should therefore be of no surprise to discover no one experiments quite like they do in the east. Russia is usually a pretty safe bet, with Volor Flex kicking up a dubstep storm very recently, but anyone after the real hard shit will want to go further: they’ll want to go to Japan.

Artist Spotlight: MacGregor Burns

There’s a certain haunting humanity to the best folk music. You can hear it when you put on an old blues 78; this untraceable something that can raise the hair on the back of your neck. The music feels natural, stark and candid, but somehow disconcerting, like it's from another place. Art brut is a nice technical term for it: the music made outside society’s tall walls. In modern music, more than a few wanna-be eccentrics and semi-interesting characters have sought after this strange singularity. The problem is, you can’t seek it. In its raw form, it just flows. You’ve either got it in you or you don’t.

Live Review: Frightened Rabbit, Hall 2, The Sage, Gateshead, 25/02/2013

It's little over four years since Frightened Rabbit's last visit to The Sage Gateshead; a fleeting period in the grand scheme of things, yet one which in musical terms represents a vast yearning gap. That certainly seems so in the case of Selkirk's finest, who upon their last visit arrived as virtual unknowns hot on the heels of gargantuan sophomore The Midnight Organ Fight, a stonewall modern classic from which the quintet have truly never looked back. Now, of course, Scott Hutchinson and company are beginning to outgrow their cult status, with a major label deal and UK top 10 album to their name, not to mention a reputation that's well on its way to joining the likes of Belle & Sebastian and Arab Strap in the realms of Scottish folklore. Comfortably selling-out the venue's second room, this show was further evidence of their meteoric rise, aptly showcasing the strides they've made whilst also providing a night that'll live long in the memories of all in attendance.

Artist of the Day: Marie Avery

Marie Avery is a singer-songwriter with the spirit of a phoenix, finding joy in pain and self-reflection. Her latest EP The Fire sees her taking on a myriad of emotional tones and illustrating each with candor and a wicked sense of whimsy. Each track demonstrates her mastery of texture and dynamic—shimmering beauty achieved through sincerity and form in equal measures.

Opener “Caged Bird” feels like the grand opening of a Broadway musical, letting Avery’s wide range and delicate voice shine amongst cocktail lounge piano and hushed stop-start rhythms. Once Avery enters the heart of The Fire, she doesn’t stop burning up everything in her path; “Heavy” is forlorn, bombastic balladry wrapped in ocean-size drums and subdued instrumentation evocating some of Bess Rogers’ finest work, while “Stories,” befitting its name, has something of a fairy-tale aesthetic, laying Avery’s desires to make something out of her life over a dazzling piano arrangement (and making very, very effective use of horns to bolster her mighty ambitions). Perhaps the standout here is “Sailing,” another track which sees Avery laying business down with just the piano to keep her company—yet the atmosphere’s always blooming on the fray, only exploding as Avery finally declares her affections without abandon. “If You’ve Got Time” closes out this stellar set with an enticing offer: “If you come through the back,” Avery lets us know, “I’ll leave the screen door open.” If she keeps putting out material this good, she’ll have an absolute mess in her backyard. 

You can purchase Marie Avery’s EP on her Bandcamp and see a video for “Sailing” here.

Album Review: Les Sages - Blood Harmony

Album Rating: B

Something about Blood Harmony, indie-rock family band Les Sages’ new release, is a bit different. These are the same songs we got off of its LP Share This, but the instrumentation has been stripped-back, the vocals amplified, and the production polished, going for a smoother aesthetic compared to the rougher sound of the LP. It’s ample proof of the band’s talent that it can radically redefine its own pool of work as it does here, and though its latest isn’t quite fully fleshed-out, it’s the rare cover EP that manages to stand as a worthwhile work in its own right.

Album Review: The Delta Saints - Death Letter Jubilee

Album Rating: B+

Sometimes, good music is all about personality. Sure, you can wax lyrical about the social message, or the texture, or the innovations of an artist, but at the end of the day, it’s people who make the songs that resonate with us, and it's people, fictional or otherwise, who we see reflected in them. Ultimately, it's the character of Death Letter Jubilee that makes for an engaging listen, whether from the absolutely blistering performance from lead singer Ben Ringel or from the poetic lyrics and instrumentation. No plane ticket is required here; this is soul-rock that anybody will be able to lose themselves in.

Interview With Owel (3/8/13)

Owel, which according to vocalist/guitarist Jay Sakong is pronounced "ohl," has been recently been making waves in the Jersey music scene due to their excellent combination of ambient string filled post-rock and emo. Formerly known as Old Nick, the band's self-titled record was just recently released on CD, and is now gearing up for the full release of the album. Jay took questions from us involving topics such as the name change, reasons for keeping the original release physical only, release dates for the digital and vinyl versions of the album, an upcoming music video, and much more that you can read below.

Album Review: Doldrums - Lesser Evil

Album Rating: B-

What if I told you there was a place where the future is now? A place where space cowboys sip neon green drinks and dance with girls in tight poly-fiber jumpsuits and coughing hovercars beep beep their way through crowded airways, all under the watchful eye of the closed-caption television cameras. Now what if I told you that place was Canada? Well, I can’t actually say that with any certainty, but, judging from the prolific output of a myriad of excellent Canadian acts, they clearly know something about what’s coming that we don’t. Yes, from the urban pits of the States’ gentle northern cousin there seems to be arising the 2010’s first great musical movement – slimy, mucky dystopian android dance-pop that may be saying something or nothing at all about society, but is fascinating either way. And now, straight-outta-Montreal, the next regiment in the Trashwerkian army has arrived, and its name is Doldrums.

Jukebox: Mutated Forms - Best Served Cold VIP

It should come as no surprise to Muzik Dizcovery readers that I'm a huge fan of deep, dark dancefloor drum & bass. In the past, I've featured this style of DnB with posts about those like EastColors, Rene LaVice, and the NeurofunkGrid/Ammunition Recordings compilation Talents LP Vol. 1, and it's a given that I'll be all over any release like these whenever it comes out. With that said, Mutated Forms' "Best Served Cold VIP" is everything I could want from the darker side of drum & bass. Structurally and conceptually, the song is pretty much standard-fare for the techstep genre in which it resides, but Mutated Forms executes every single element of that techstep style with incredible quality and attention to detail. The synths are absolutely brutal from start to finish, sounding of everything good from the techstep world with their ominous growling. The drums do what they're supposed to - that is to say, be loud, be ticky, and try not to draw too much attention, as everything in the song deserves note. The bass is heavy, just as techstep basslines probably always should be, and it sounds perfectly in line with the rest of the song. Finally, the occasional vocal samples add greatly to the deep, dark feel of the whole experience. Mutated Forms has done everything right on "Best Served Cold VIP," and the original "Best Served Cold" has been transformed into even more of a dancefloor banger of sorts - and in this case that's a very good thing.

You can stream a clip of "Best Served Cold VIP" here.

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Artist Of The Day: Sleeping Lessons

It wouldn't be a stretch to suggest that post-hardcore as a genre has seen a drop in both quality and quantity in recent years. One band who doesn't fit the unfortunately growing trend however is La Dispute, who are arguably the finest post-hardcore band still regularly active today. It comes as no surprise then to see new bands following a similar blueprint to that set by La Dispute, especially given the success of their 2011 release Wildlife. Enter Sleeping Lessons and their debut EP, Cellar Door. A Cheltenham based four piece, Sleeping Lessons marry melodic guitar lines with harsh vocals and toy with dynamics in varying song structures, resulting in a diverse debut EP that avoids many of the pitfalls newer bands are often associated with.

Artist of the Day: Clem Leek

Clem Leek first caught my eye as part of Black Elk, who released an album called Sparks last year which turned out to be pretty damn awesome (#18 on my end of year list). The south England lad's been pretty busy since then, with the ultimate result being two rather tasty EPs since the beginning of 2013. One took a slightly experimental path parallel to Sparks in a modern-classical-come-ambient way. The other is entirely different, and more than a little difficult to come by.

Released on the wonderfully informal Brian Records, Rest seems more like an afternoon's session of slow guitar jams than a full record. The 17 minute duration is occupied with the most restrained form of emotional post-rock: a minimal collection of ambient buzz and a handful of guitar tracks. Clean, calm and beautiful would be the best way to describe it -favourite of the year so far beautiful, to put it in context- but with a limited release of only 40 vinyls and a small stack of CDs, beauty can't be for everyone.

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Artist Of The Day: Swindle

Swindle is a case of interesting dubstep in a world of cut-and-dry music. While that is a bold statement to make about any artist, Swindle has honestly earned the title as his music is an excellent fusion of a jazzy, proggy sound and a standard dubstep beat and bass. The young talent has already been signed to hugely respected label Deep Medi Muzik (home of stars like Mala, Tunnidge, and Kromestar), and for good reason. One listen to "Do The Jazz" and the reason his shocking rise to fame is made clear: his sound is excellent. The drums are light and funky, the synths reek of frosty, clean jazz and the organ lead brings the song perfectly into its main section of thumping bassline and nasally lead. Swindle's music is cool, fun, and intense all rolled into one, and he's quickly becoming a must-listen in the dubstep world.

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Album Review: Man Without Machines - The Kreuzberg Press

Album Rating: B

Even as a serial advocate of the Scottish music scene, it can be difficult to avoid the plethora of malignant stereotypes its bands have carved for themselves over the years. No doubt rooted with legends such as Arab Strap and The Jesus And Mary Chain, perhaps the most prevalent is what many view as a perpetual propensity for dour misery, be it through some long entrenched cultural identity, or merely the less than tropical climate they inhabit. It's an unfair - albeit somewhat understandable - perception, yet it's also one which current torchbearers like Frightened Rabbit and The Twilight Sad are hardly going out of their way to dispel, a pattern which ensures eyebrows continue to be raised on the odd occasion an act a la Man Without Machines does surface.

Album Review: Autre Ne Veut - Anxiety

Album Grade: A-

The new wave of R&B has shown us many faces of the genre in the past few years. Frank Ocean and The Weeknd both rely on minimalism and strong vocal performances to deliver their studies in self-examination and partying, respectively. Meanwhile, Miguel and Usher have both used their music as a template to make comically oversexualized odes to the women who please them. In the mainstream conscious, there seems to be no middle ground between these opposing factions.

Album Review: Witxes - Sorcery/Geography

Album Rating: B+

Ambient music has always struck me as an otherworldly entity. Its composition, its impact, and practically everything about it is so far detached from the normal parameters by which we judge music that it effortlessly distinguishes itself as a different beast entirely. The roots of ambience can be traced back to the mid 1970’s when a certain Brian Eno first coined the phrase; and he’s widely accredited with both its formation and its popularity. It has evolved and been infused with other electronic genres since then; including drone music. This is the focus of Witxes’ efforts, and some of the denser atmospheres that they craft on Sorcery/Geography are comparable to the more wandering moments on Godspeed You! Black Emperor’s Allelujah! Don’t Bend! Ascend! such as “Their Helicopters Sing.”

Artist of the Day: Moving Mountains

Two weeks ago tomorrow, I lost my grandmother. The moment I knew, I picked up Pneuma again, and began to listen; it was a wordless, unrelated connection that affected me on a level deeper than skin, or even consciousness. Moving Mountains' debut album is deeply musical, thoughtful, and powerful. They draw the name of the album from the Greek work pnévma, meaning "breath," but commonly translated as "breath of life." The sounds that appear on the album are fluid, light, and move lightly, like exhaling steam in the winter; the emotional side, however, is more like a sigh, that you release heavily from your chest. Pneuma burdens you, and creates a weight from nowhere that stays with you for a while after you stop listening. The tracks make you think, about sadness at first, but level out to a broader plane, and eventually, even existence itself comes under speculation. It takes an inspired mind to write an album that causes you to think so much, and absolutely deserves the belated critical acclaim it received. The music is wonderful, studio tuned to perfection, and the time and the effort spent on refining it more than deals justice to the message original band members Gregory Dunn and Nicholas Pizzolato were trying to send: one of fleeting love, loss, and somehow, acceptance. I know my grandmother isn't coming back. But I know that, like this album, all things end, sometimes on a low note, sometimes on better terms. Pneuma is one of the things that makes me able to move on - if an album this depressing can end with "Hallelujah," I can acquiesce to the impermanence of life. It's the final and hardest step of moving on, but we all can, and we all do, with time.

You can find Moving Mountains' newer music on their own site, and their older material on their Bandcamp page.

Album Review: Naibu - Fall

Album Rating: A

Naibu's Fall EP is a worthwhile drum & bass release. Look back at the rating, your eyes aren't deceiving you - I did in fact give this an A. How is it, then, that the most apt adjective I can give what's probably going to end up being my favorite release of the first quarter of 2013 is "worthwhile?" After all, Fall isn't an innovative, genre-defying behemoth like Burial's Kindred EP, the most apt comparison I can think of. The latter, almost unarguably one of the finest releases of 2012 in general, was an incredible three-track sampling of Burial's technical prowess and musical skill (Untrue on steroids, if you will), and the breathtakingly delicate balance Will Bevan created resulted in an emotional roller coaster which took the listener where (some would argue) good music should always go. The former plays by all the rules of DnB - the tempo is pretty much constant throughout, the rolling basslines are heavy and a major focus of every song, the lush keyboard chords are prevalent, and MC tracks and sultry female vocals abound. So how can I honor a release which followed all the rules to a T by comparing it to an EP which was so good precisely because it didn't feel the need to conform to any genre stereotypes?

Album Review: Mice Parade - Candela

Album Rating: B

For a globetrotter's soundtrack, Candela sure does have a sense of emotional unity. It's best expressed earlier in the album, between the atmospheric rumblings of "Listen Here Glide Dear" and the serenity of "The Chill House." The emotions are far-reaching, but perfectly fit the mood of Mice Parade's latest album, for the experience is a journey into what culturally diverse indie can make its listeners feel.

Album Review: The Sunpilots - King of the Sugarcoated Tongues

Album Rating: B+

Indicative of the social media charged society we live in, there is a plethora of ways for bands to spread their music to the general public – and the list of ways is constantly growing. Even so, the way I discovered The Sunpilots is something of an anomaly; and they succeed in being the first truly great band on Lastfm to have directly sent me a link based on my interests. Aside from it being a solid medium of channelling their music directly to their target audience, it also reflects the industrious and persistent nature of the band and its members. Having toured extensively around Europe for the best part of two years after moving from their native Australia, they've couch surfed and lived on a shoestring with only one thing in mind. Their latest album, King of the Sugarcoated Tongues, might just be what brings them the recognition they've strived for.

Artist of the Day: Lady Lamb the Beekeeper

In today’s burgeoning indie folk scene, artists must endlessly struggle to keep their heads up if they want to make any kind of dent in the eyes of the music listening public. A good place to start is authenticity. Aly Spaltro (alias Lady Lamb the Beekeeper. I don’t know what it means, figure it out yourself!) has that part down pat. Her story stands as the polar opposite of the Bon Iver-style broken hearted Neo-Walden mountain man myth. Instead of exiling herself to a harsh cabin life, Spaltro put her music to tape after hours in the video rental store where she was employed working eight hours a day, seven days a week. She would play and experiment until the sun rose, then, presumably, go home and sleep until it was time to loan out DVD’s again. Sure, it’s kind of melodramatic self-punishment just like Vernon’s tale, but it’s more populist. In the public imagination, anyone behind a cash register (yes, even you) could be Lady Lamb the Beekeeper. That’s the genius of Spaltro’s narrative.

Live Review: Sigur Rós, Hall 3, SECC, Glasgow, 03/02/2013

03/02/2013, 09:40: Ok, before we get started, I have a confession to make - I'm beginning this write-up before the show in question, and am thereby breaking my own golden rule of live reviewing. It's not something I want to make a habit of - nothing after all is more detrimental to objectivity than pre-formed opinions - but I think I can make an exception for my first Sigur Rós experience, as I anticipating it to be just that - an experience. One of the finest bands of our times, promising a mixture of old classics and brand new material, before thousands of lovely Scots in my favourite city on Earth; don't tell me I shouldn't have expectations! Anyway, I've always felt that feelings are best expressed in the heat of the moment, so what I'm going to attempt is a sparodic, and no doubt shambolic, running commentary of the night's events, completely unedited, aside perhaps for the odd unnecessary expletive once the beverages kick in. As of now, I'm on the train from Newcastle to Glasgow. I'm absolutely shattered having stayed up way too late gawping at Heima in preparation, and I'm trying to stave off that tiredness with a selection of the city's finest: Rick Redbeard, RM Hubbert, Belle & Sebastian, etc. I love Glasgow!

Interview With Driver Friendly (3/4/13)

Driver Friendly released the excellent Bury A Dream last year, and their recent signing to Hopeless Records shows that people are taking notice. The band takes pop rock to a new level, combining insanely catchy hooks and smart songwriting with a two piece horn section that sets them apart from all of their other peers. Vocalist Tyler Welsh recently answered our questions via email about topics such as signing to Hopeless Records and the reasons for doing so, an upcoming EP scheduled for June, possible vinyl releases, an upcoming big summer tour, and far more that you can read below.

Interview With The Jealous Sound (2/20/13)

The Jealous Sound has been a band for nearly 15 years now, but they are just now breaking back into relevance after an extended hiatus during the mid to late 2000's. The band has recently signed to Rise Records, a signal that the band has plans to continue on strongly for the near future. We sat down with with vocalist/guitarist Blair Shehan on the band's tour with Balance & Composure to ask questions regarding their recent signing to Rise Records, the Jimmy Tamborello remix, music videos, reissues of old material and Knapsack albums, and much more that you can find below.

Artist of the Day: Norma Jean

Five-piece heavy metal veterans Norma Jean first rose to popularity with Bless The Martyr and Kiss the Child in 2002 with ex-vocalist Josh Scogin fronting the raw metalcore chaos. When Scogin left to pursue other musical interests by forming The Chariot, the band recruited Cory Brandan to tear up the mic. Since then, Norma Jean has experimented with technical mathcore, post-hardcore, and even some hard rock influence to create some of the best metalcore of the past ten years.

Watch This: Ólafur Arnalds - "Old Skin"

Ólafur Arnalds' music plays out a wonderful duality between the pain of isolation and the multitudes contained within ourselves: it is often hard to tell if the stirring climaxes he reaches are meant to be uplifting or sad. So it goes with "Old Skin," one of the standout tracks from his upcoming LP, For Now I Am Winter. The accompanying music video, which I am told is his first live-action feature, beautifully illustrates the dichotomy at the center of Arnalds' work as it follows a senile lightguard keeper going about his daily routine. The video takes its time letting us get acquainted with him, as the camera settles on his inscrutable face as he calculates the significance of every next step he has to take; later on, this choice proves critical. There's a lot of focus on surfaces in this video, from the glassy ponds dotting the landscape to the bubbling cup of coffee that the old man stares into, and just as the song slowly unravels its fragile foundation of strings and piano to reveal a thumping heartbeat at its core, the video delves into the depths of the water to reveal a different world, one of radiant, colorful abandon. Yet the climax only muddles the meaning even further: even as our hero finds himself in the midst of camaraderie, his expression only appears lost in a horde of faces he does not know. Meanwhile, guest vocalist Arnór Dan repeats his refrain, "In these hands I'll hide," and piles on layer upon layer of counterpoint, all clashing to the point of incomprehension but all absolutely essential in the moment. By the ending, most viewers will be left with more questions than answers, but to be honest, some questions are better left unanswered--especially if the results are as gorgeously compelling as this.

You can watch the video for "Old Skin" above. For Now I Am Winter is set to release in the United States on April 2.

Artist of the Day: Renaissance Sound

When I first stumbled on the work of Renaissance Sound last winter, I felt a rush of euphoria I'd only touched a select few times in my life. The band's unique mix of post/math-rock, jazz, and folk is warm, stimulating, and compelling--just as much today as it was the first time I ever heard it. Right now, I'm jamming to "Derek's Journey," the second track from the band's debut EP. It begins with the delicate plucks of a mandolin and gentle drizzles of percussion and keys before slight but emotional gang vocals rise over the instrumental tapestry: the string of solos following it is the highlight of the track, remarkably fluid and graceful. Not once does the music break the tricky balance between spontaneous inspiration and smart structure. It's clear throughout the release that we're in the hands of master songcrafters.

Anyhow, Renaissance Sound is closing out our Free Music February feature (if only February had a few more days), as its debut EP is FREE on the band's Bandcamp page. Meanwhile, I'm happy to announce that while I wasn't looking, the band snagged a signing to the up-and-coming Naked Ally Records and has an upcoming second EP coming on March 15, which looks to be even better. Go check both releases out if you want to know what this renaissance is all about.

Artist Of The Day: When Our Time Comes

Imagine taking the savage breakdowns associated with metal-core, the dense atmospheres crafted by post rock bands such as Russian Circles, then combine it with the progressive elements of acts like Protest the Hero. If you can picture the above conglomeration of styles, you’re already close to imagining what When Our Time Comes’ debut EP Test the Waters sounds like. Hailing from a music college in London, When Our Time Comes ambitiously combine influences and splice genres to create an EP which transcends simple classification.

Album Review: Youth Lagoon - Wondrous Bughouse

Album Rating: A

The début album of Youth Lagoon (aka Trevor Powers) was one which covered a surprisingly ambitious amount of ground, especially considering the juvenescence of the artist who produced it. The Year of Hibernation was ambient, atmospheric and experimental, and it showed Powers to be fiercely purposeful as well as a perfectionist. The guitar and piano which often underpinned his songs such as “Seventeen” demonstrated his eye for detail, as layer upon layer of intricacies comprised each song and were easy to miss if not for equally adept attention from the listener. His vocal delivery was delicate and ethereal if not effeminate, and it haunted the melodies as if from the past rather than coexisting with the songs in the present. What’s more, the progressive passages which were commonplace showcased his experimental side, as they spiralled unpredictably at every turn, and were as likely to begin a song as they were to see one out.

Album Review: The Men - New Moon

Album Rating: B

Is it just me or does it feel like it’s been five minutes since The Men’s last album came out? Really, it’s been almost exactly a year. That's not an unrealistically short time in which to come up with a new product, but certainly not long enough for any kind of complete artistic overhaul. I should mention, I suppose, that the band and I have had a rocky relationship. By that I mean I haven’t liked their work and they have no idea who I am. Save Crystal Castles’ low-seratonin dudfest, nothing in 2012 depressed me quite as much as ‘ol Open Your Heart. I mean, it was okay. Flat, idealess, derivative, dull, and very okay. From where I stood, it seemed like they had a long way to go. But here we are, a year later, and I must admit, I’ve underestimated The Men. New Moon, their third effort, is a tighter, brighter, more cohesive record than anything they’ve had their hands in before.

Artist of the Day: Lemaitre

This will be the second time I've touted Lemaitre on this here pedestal, but since 2013 has managed to be so outstanding I want to review every album I come across. As a result, the only things left to display here are singles and upcoming releases. In the case of Lemaitre we have a single and an upcoming release, so they're pretty much perfect.

The Norwegian duo's newest track may as well be a deconstruction of what they're all about: with a soft, bleepy intro quickly descending into Daft Punk with vocals. It's sugary, inoffensive and energetic enough that even a loveless elitist such as myself can't help but be won over. It bodes very well for the new EP, which will be the third installment in the so-far "okay" Relativity series, and hopefully they'll be able to reignite the creative spark which made their debut so fantastic.

Album Review: Volor Flex - Unlit

Album Rating: B

If the name Burial were to be dropped at the very beginning of a review, you’d know what to expect from the album: female samples covered in those comforting clicks and clacks to the dull gloom of bass. For Volor Flex’s first two LPs this would be apt, considering his self description as a Burial tribute-come-worshiper act. Many found these two releases to fall too close to the tree: dissatisfied with the sheer degree of imitation regardless of Volor Flex’s growing sense of self within this framework. Unlit arrives fresh after a small, not very well received EP on Apollo in which Volor Flex attempted to branch out with less than mixed success. This new LP sees him reign back his style to the sort he’s comfortable creating, with a keen eye on developing the staple sound rather than replicating it. Any Burial comparisons, especially at the beginning of a review, would therefore be unfair. I’m sorry I mentioned it.

Jukebox: Virt - "Staring At My Spaceship"

Jake Kaufman (better known as Virt) just may be my favorite musician in the chiptune community; his work, in all honesty, transcends musical boundaries, in my opinion. No track of his, however, is as dear to my heart as "Staring At My Spaceship," a moving ode to love, wonder, and beauty--at least that's how I see it. Though it was written way back in 2007, it still feels new every time I hear it: the track opens with vaguely cosmic synthesizer melodies that soon make way for a blend of energetic strings, fruity piano asides, and adorable chip melodies. The real showstopper is the climax of the track, which is an absolute blast-off the likes of which you have probably never heard in your life.

Oh, and should I mention that he wrote this song for his then-bride/now-wife Kristi? Swoon.

Stream/download the track here, and please take a moment to check out his awesome site, which features literally hundreds of free downloads.

Free Music February: ABSRDST

Today's release hails from chiptune musician ABSRDST--but don't tell him I called him that. In truth, Jack Vanounderaren does so much more than spitting out chirpy 8-bit tunes; his music is a world in itself, rich with atmosphere and plot. At heart, he's a storyteller, and the breadth of his musical vision is apparent on his outstanding new LP, Xhip Quim, which you can stream and download for free from his Bandcamp page.

Artist Of The Day: Mutrix

Continuing in the vein of Free Music February, Mutrix is an EDM artist who releases all of his music for free (much like the previously featured Project 46). Part of the burgeoning "brostep" movement in America, Mutrix is quite good at the various styles in which he participates, be it electro house, dubstep, or glitch hop. He's sure to be quite a polarizing artist given that he's very much got a stereotypical "bro" sound to him - listen to "Moments" and you'll see what I mean. However, of all the artists who embody the recent trend, Mutrix is one of the most technically sound and interesting. His remix of Krewella's "Killin' It" is a great example of what he can do, as it's one of the most exciting house releases of recent memory with its excellently minced vocal samples, interesting synth lines, and general fun factor. Mutrix has become very popular over the last couple months, and I predict that if the current trends in EDM continue he will soon become an Adventure Club-esque genre mainstay. For now, though, enjoy the free music he offers.

Facebook/Twitter (His music is all offered for free on his Facebook page)

Artist Of The Day: The Jealous Sound

The Jealous Sound formed in 2000 after the breakup of vocalist/guitarist Blair Shehan's former band Knapsack, but since then the band has been inactive almost as often as they've been touring and making records. After the band's critically acclaimed full length Keep Them With Kindness in 2003, very little (other than a small EP titled Got Friends) came out of the band until 2011 when the band announced their latest full length A Gentle Reminder. The record was a perfect follow up to Keep Them With Kindness, keeping the band's similar emo tinged pop rock sound but still moving forward with stronger songwriting and tighter production.

Artist of the Day: Veronica Falls

I can’t think of a better word than “British” to describe London indie-pop outfit Veronica Falls, although “charming” could work. The four-piece’s second album, Waiting for Something to Happen, is undoubtably one of the most enjoyable, easy to listen to releases of the year so far. Where their self-titled debut felt manic, dark chords and themes evoking nervousness during even the cheeriest moments, Waiting is a sweet affair. The group dumped what edge they may have had to embrace their fate as the pop band they were always meant to be, and the revelation left them free to stretch their bubble-gummy fingers in wondrous directions. Sugar-laced arpeggios and mellowed progressions urge you to just sit and soak in the vibrations as vocalist Roxanne Clifford leads her adoring choir of harmonizing boys James Hoare and Patrick Doyle to new levels of pretty. 

Artist Of The Day: LIFE

Typical. Just typical. Just as my mission to persuade anyone who'll listen that The Neat, the greatest band of our generation was beginning to find success, the fuckers had to go and end it all. With only three singles by means of evidence, it seems all future attempts will fall on death ears, as a group who should have changed the face of planet Earth fade from virtual unknowns to, well, complete unknowns.

Thanks a lot guys.

Free Music February: Take One Car

As the second month of an exciting year draws to a close, we want to offer up what we can find in terms of free. With everything becoming more expensive, the term draws the eye more and more every day. Thus, our Free Music February experiment continues.

The latest addition we have for you is Take One Car, a New York band who came out with a chart-topping album precisely one year ago. The band labels their sound as "Rock or something," which doesn't really define the genre-mixing with justice, but is essentially applicable - elements of heavy post-rock are there, but with both traditional rock influences (which is where Tyler Irish's astonishingly good vocals come from) and much darker post-metal roots as well, melding to form It's Going To Be A Nice Day, which both Casey and I thought was impressionable enough to appear on our year's end lists. On top of the band's fantastic second album, both their first album and live recordings will also be included in Free Music February, due to the band's generosity in celebrating the one-year release of Nice Day. It is an excellent offer for an even better album, absolutely worth a minute of your time.

You can find all of Take One Car's discography on their Bandcamp page, free for the next week only.

Point-Counterpoint: Is Paramore's "Now" a good idea?

With the loss of two band members and a non-trivial hiatus, it follows logically that Paramore's sound would change. The band's new song, "Now," demonstrates this conclusion to a T - it's a minor step in a different direction for the band, with its almost math-rock drums, industrial-tinged guitars, and Hayley Williams singing with a much harsher voice. Was it a good move for the band, though? Resident EDM nerd Will Robinson dukes it out with himself in an unfamiliar genre, providing two different points of view regarding the new single.

Jukebox: Agerskow - "This Train Terminates" / "Fast Hands"

An adopted Geordie having relocated from East Yorkshire, Kate Edwards initially cut her teeth playing in local indie pop group Brilliant Mind before stepping out with her own creative vehicle. Formed in 2011, Agerskow as a project remains in relative infancy, yet it's already won Edwards plenty of plaudits, mostly on the back of live performances accompanied either by cellist Miriam Bennett or bassist John Edgell and drummer Narbi Price in a traditional band format. Now, with a full array of musicians at her disposal, the songwriter is finally preparing to unveil her first official release; a double A-side single featuring the tracks "This Train Terminates" and "Fast Hands," due on 18 March via Newcastle-based label Cottage Industries.