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.