Music Under Fire

Hamilton, Ontario's seven-man troupe The Rest have been busy in the woods working on their sophomore release Everyone All At Once. For the follow up to their 2007 debut Atlantis, Oh Our Saviour, the band absconded into some little houses out in the Canadian wilderness to concentrate on their music , described the experience as bringing a sense of clarity. The intent and the alleged result was to create a record where every song was their greatest moment, as opposed to a handful of great songs packaged between a handful of B sides.

The writing process seems reminiscent of the Red Hot Chilli Pepper’s seclusion during the recording of their ground breaking Blood Sugar Sex Magik record, yet this was no rock star odyssey in the spirit of Led Zepplin in their self indulgent heyday. Rather the band sweated and worked for this record to happen whilst simultaneously working full time jobs. Furthermore the alone time didn’t cause the band to over think and over complicate their songs, instead the group cited Roy Orbison as a key influence on the record: old school, straight forward, Pop sensibilities.

“Apples & Allergies” sets the tone with gentle melodies that hold your attention whilst possessing an evanescent kind of calming spiritualism.

“Blossom Babies Part Two” is reminiscent of 60’s Surf Rock bands such as The Surfaris and The Ventures, with strong floor tom, heavy bass drums, trebly guitar, which then almost blends into Space Rock, somehow mixing with a fantastic upbeat optimism worthy of a Beatles record.

“Coughing Blood” sounds similar to the song writing of Eric Bachmann of the now defunct Archers of Loaf (with songs such as “White Trash Heroes”) mixed with wavering falsetto vocal lines reminiscent of Jónsi Birgisson's (of Iceland’s Sigur Ros). The atmosphere is both deep and rich, reverb drenched and spooky but maintaining a certain warmth.

Meanwhile “Drinking Again” builds from a gentle ballad with the gentle vocal melodies being treated as an instrument that mingles with the other sounds, not dominating but rather adding to the textures. The track exhibits a Post Rock, or even pre-Rock influence of layers, as opposed to chunks of sound placed together, escaping the formulaic trappings of a 0101010 Rock song.

The title track “Everything All at Once” features baritone vocals and plodding bass that emerges into a bright and memorable butterfly of a Pop song. The lyrics warn the female protagonist, “Coco”, not to mix around with no good rascals, more well mannered harmonies and nicely placed strings being used as additional persuasive devices. The sound is rich, deep and detailed but without falling into the trappings of creating a overloaded sound (Devendra Banhart, you are guilty as charged).

“Modern Time Travel (necessities)”drifts in with gentle guitar mingling with pounding off beat drums, whispering apologetic vocals, sounding just a tad like Jet’s “Look What You’ve Done”, yet suddenly exploding into a wall of sound straight off a Phil Spector production. The disconcerting drum beat (1,2, huh?,4) and great vocal melodies mix in with snatches of strings and xylophone.

“Phonetically, Phonetically” possesses a determined piano line, with vocals and muted strings working away under the surface. The choir boy harmonies are haunting, nicely complementing the bright layered guitar riffs. Soon it stands up, revealing itself as another Beatles style upbeat effort with a whimsical fairy tale quality, especially in the lyrics:
“If I were a figure of speech,
I think I’d be erased,
[…]
“I could have been the gravy on thanks giving day”
The result is a beautifully crafted piece of music which is appealing and listener friendly but without trying too hard, holding good depth with its rollercoaster dynamics.

“Sheep In Wolves’ Clothing” is a little skiffle like number with an odd time signature and a banjo/ washboard duet to boot. The pitter patter drums slowly build, breaking into a rushed confession of how much better life could be under the sea (‘The Little Mermaid’ anyone?), accompanied by some storming banjo parts.

“The Lady Vanishes” begins with notes that seemingly ring on forever, the steady floor tom anchoring the ghost like howls of feedback. The sound mushroom clouds up into the atmosphere, dying down into the fallout, but not all the way. Almost classical overtones blend with choppy guitars and bass that drives away under the surface. The song is a fantasy amongst the clouds, floating around, half hidden from sight at times, dragon flies powered by lighting speed tremolo picked guitar whizzing past.

“Walk on Water (auspicious beginnings)” starts with moody organ, baritone strings and ringing piano keys, while the lyrics are like the page from the diary of a paranoid love sick insomniac. Harder drums rolls and tough guitar soon follow before tripping into a Doo Wop Soul style break with marching band drums and almost Latin piano parts, fading into a frantic wall of sound The Who would be proud of.

The overall sound of this record, the sonic model so to speak, is a democratic one: there is no over indulgence on each instruments behalf, representing the band’s ability as a collective to filter out what isn’t beneficial to the end product, always skimming the cream and saving it for later. The bright sounds and friendly melodies never get samey, always showing a good variety of musical ideas. The record sounds familiar yet implacable and certainly not a robotic Radiohead clone. It is more akin to taking a stroll through the woods by The Rest’s cottages, looking up at the sun coming though the trees and the birds singing above them with the band’s well crafted whimsical ballads floating up and mingling amongst the clouds.

Everyone All At Once was released on Auteur Recordings and is available on iTunes Canada as well as the label's site. For more on The Rest, check out their MySpace or web page.

MP3: The Rest - Blossom Babies Part Two
MP3: The Rest - Phonetically, Phonetically

The subtleties about the new album from Andrew Keese and the Associates are what makes each listen a dazzling showcase for the Aussies' emotionally-stained rock message of Desire.

For a lamenting harmony and a down-toned set of vocals from Keese, it might seem hard to really grasp at any tangible hook. Throughout each song, whether it be a piano and violin oriented hymn or a soft guitar ode, a message with a somewhat spiritual vibe strides ahead.

This finely rehearsed record strings messages of remembrance, hope and a struggle of relationships. Thanks to Keese (vocals, guitar, piano) and bandmates Andrew Cowie (drums), Phil Smith Major (bass) and Sunny Leunig (guitar), the symmetry and simplicity helps Desire reach further than any electronic enhancements would take from it.

Overall, this simplicity is the backbone of the album. Don't expect for any track to jump out since this album doesn't revolve around refrains and guitar solos. Lyrically, Desire holds nothing back although vocally it never cries out with any pent-up hysterics, which could have ruined it terribly or sent this album to another level. For fans of

Andrew Keese and the Associates are based out of Melbourne, Australia and the album Desire was recorded in 2007 with the help of producer Tony Cohen (Nick Cave and the Bad Seeds, The Go-Betweens, The Beasts of Bourbon). A free version and deluxe versions of this album can be found at the group's website.

MP3: Andrew Keese and the Associates - The Shadows

Rating: 7.3/10

For anyone familiar with Animal Collective, the release of Merriweather Post Pavillion was nothing of note. Like syrup in a glass bottle, the foursome always provide a fresh taste on whatever plate they come out on. What must be noted though would be that MPP provided the music community with a touch of normalcy and perhaps some of the visceral emotions that epitomize Animal Collective.

The dance around the table begins with wave upon wave hitting the shore in "In the Flowers". This delightfully progressive opening track clicks and chirps a natural aura before gradually blending into the beat-box jungle that follows in the next 10 tracks.

Attuned for remixers and electro-maniacs alike, "My Girls" delves right into the symmetry Animal Collective has spread so often in their past - repititious refrains and keyboard looping. When the loops swing around two or three times, the lyrics have stuck, so the next time "I just want four walls and adobe slats for my girls" sings, it has become a household song. The track "Bluish" chimes to this pattern of catchy refrains with personal tidbits while "Summertime Clothes", the album's lyrical juggernaut, goes into a tirade that wows at every turn.

Merriweather Post Pavillion continually drifts back towards its organic origins. "Also Frightened" and "Lion in a Coma" play the part of ensuring the album throws in its fair share of natural sounds, whether that be through owls hooting, insects crawling or the didgeridoo.

When the bells and whistles aren't ricocheting out of the speakers, the people behind the music (Panda Bear, Deakin, Avey Tare, Geologist) really shine. Sentimental lyrics such as "I really want to show to my girl that I want her" from "Guys Eyes" and "Friends I once had turn their thoughts away from me" from "No More Runnin" break away to a heartfelt side that can be missed on a casual listen.

Despite a low overall rating, the diversity in sounds and studio enhancements on this album made it worth listening to. Although they have alluded my ears for a live show, countless fans have heralded the group for what they bring to the road. Below we have clips from their show at the Bowery Ballroom in New York, courtesy of http://animalcollective.org/.

MP3: Animal Collective - My Girls (live at Bowery Ballroom)
MP3: Animal Collective - Guys Eyes (live at Bowery Ballroom)
MP3: Animal Collective - Brother Sport (live at Bowery Ballroom)

Rating: 9.2/10

The setting here is important. A stormy, windy October night when the red rear lights of a pickup start to fade away - then Eureka Birds plays. Complete with the subtle whispers, dying chimes and the type of ambiance that opens the mind up, this Baltimore group hit the nail on the head with their self-titled debut album that released last month.

What Justin Levy (vocals, piano), Dave Rogoza (guitar) and Allin Hinton (keyboards, synthesizer) thought up, they delivered. With the help of Tyler Watkins (Margot and the Nuclear So and So's) in the recording process, not only did Eureka Birds capture a dynamic sound for the season, but they have also dipped into an expansive sound that enabled them to pick up Dami Soh (cello), Jason Hoffheins (drums) and Mike Passariello (bass) for their live act without missing a beat.

Any new listener to Eureka Birds can find comfort in that fact that the album doesn't need to be played all the way through to find a decent track. Every song works well on its own. The tracks that best present the group's mystical sound are "The Still Life", "Oh! My Dear" and "Dinosaurs".

Opening up the album in a slow motion groove, "The Still Life" exhibits just a morsel of the creative engineering behind the 11 tracks ahead. The use of a patient electric piano and simple drums set the pace for this track as it slowly winds along with Levy's lyrics of "All these crazy things you think". The addition of a metal rumble strip-sounding clip halfway through this song sends a relaxing, yet mystic feel that sets the mood and tempo for rest of the album.

Containing the almost spiritual haunting within the album is "Oh! My Dear". Whining violin strings, presumptuous horns and the low end piano playing capture this mystic mode most completely out of any track on Eureka Birds. Outside of lyrics that sing "There's an unexplained creaking underneath my floorboards, and if you listen close you can hear the most haunting sound", the instrumentals manage to define this creepiness as heavy trombone and spiraling downward noises add to this bizarre song.

"Dinosaurs" offers another imaginative look into the album, as it sings to dinosaurs acting like people. The whole concept lends to metaphors, but really any song about these long deceased reptiles that roamed the Earth works wonders for a wandering mind. To make the glue to this song stick stronger, Levy's vocals meet every rising fear the lyrics and slammed hi-hats create.

Over the course of this 11-track album, the electric piano does stand out a bit more than the other instruments, although with a such great number of instruments supporting it, each time the piano shows up, it comes across with a new supporting cast and overall sound. The complete list of instruments on this album includes: vibraphone, drums, xylophone, guitar, bass, violin, bells, trumpet, trombone, organ, tambourine, and regular, electric and electric pianos. This album also featured nine artists.

Eureka Birds has everything one could ask for from an indie rock band that leans towards a down-tempo approach. Harnessing the talents of so many artists outside of the original three places Eureka Birds in a class few bands can touch. Although Levy's vocals really are never exploited, they work for for the mood they sing in. As each song can stand alone, it should be noted that the flow of the album never throws a curve ball.

This album easily qualifies as one of the top albums of the year due to this concerted, quality effort loaded originality. Since it only was released in October, the staying power of the group's sound is still yet to be determined as they move forward as six and not three. Check out the mp3s below and let us know what you think.

MP3: Eureka Birds - Oh! My Dear (buy)
MP3: Eureka Birds - Dinosaurs (buy)

Rating: 7.7

This year New England's Pretty & Nice trumps warm clam chowda with their Get Young album. Sure, it seems like the 10 tracks go fast, but the hearty glow you feel after listening just sticks for days.

The three-headed artisans on Hardly Art's label could be compared with candy-wired kids trapped in the toy department of a store. Holden Lewis, Jeremy Mendicino and Bobby Landy transpire their experimental pop ruckus with an innovative energy that harnesses clashing sounds and curt singing choruses, much like Beck.

Highlighting the album are "Tora Tora Tora" and "Nuts and Bolts". At the second track track, "Tora Tora Tora" jumps out with the refrain "The Japanese are singing Tora..." as the drums constantly stop and start as the vocals splice apart every lyric. "Nuts and Bolts" springs from the onset through a scattered electric guitar and quick transitions from lyrics about the sun ("life on the sun ain't much fun when you're the only one") tied with a keyboard enhancing twinkle.

Rarely do the tracks on Get Young maintain a consistent feel in part to the sporadic implementation of the drums, keyboards and guitar. Fortunately, the Talking Heads inspired singing style links everything in the album back together. The strangely addicting technique could be why Get Young finishes just as fast as it starts.

Overall, this album isn't for everyone, but it demands at least a listen. The opening track "Piranha" provides a perfect taste for what Pretty & Nice brought with this work. Consider Get Young one of the most fun (yeah, FUN) albums of the year. Not only will the first time one listens to this album feel like the tenth, but the vibrancy will remain.

The group previously released, Pink & Blue, which was remixed in their Blue & Blue album. For more info on the group, head to their web page.

MP3: Pretty & Nice - Tora Tora Tora (buy)

Rating: 8.1/10

School of Seven Bells' debut album, Alpinisms marks yet another great band riding the growing popularity of electronic dream-pop. With swarms of synthesizers mixed with shoegaze guitarwork and a tech-beat foundation, their blend of sounds is truly ear candy. Given their apparent influences of their counterparts, M83, it came to no surprise that they've been touring along side Anthony Gonzales and Co.. Given their love for synths and an undeniable rhythm staggering those who watech them perform, it would be easy to categorize the trio as one in the same with M83, but their dual vocals and smooth transitions make for an enjoyable listen.

Not only do the Brooklyn-based band's female vocals have such a big impact on the album, but the rhythms and flow of the entire album is seamlessly pieced together. Although the group insists the vocals may be their only vice on the album with its seemingly layered upon layered tracks, the twin sisters, Alejandra and Claudia Deheza, are entrancing as are the talents that lie with the defunct Secret Machines mastermind, Benjamin Curtis. In tracks such as "Connjur" or "My Cabal", the words are chanted as if the due are in a trance, spinning deeper into the synth web they've carefully crafted.

Perhaps the album's timeliness of the album as the seasons turn that made this album much more attractive. Its true that this is no summer album, one that is uplifting in the jovial sense, but compliments the falling leaves and the swirling winds as Winter will soon be upon us. Curtis, who pieced together the three-member band may have slipped these ambient soundscapes right into my conciousness given this seasonal atmosphere. With The Radio Dept fresh on my mind, School of Seven Bells follows a similar path, preying on their strengths, using the vocals as the stronghold. The dillusionary themes about dreams and hallucinations throughout their album push their sound deeper down a winding dark hole, pushing harmonizing levels off the charts.

Now with Winter on its way, the dreary, dreamlike days seem to pass by as the year-end approach and this album couldn't be any more fitting. This album is beautiful from start to finish, and may be one of this years greatest albums to fly under the radar. We highly recommend you pick this one up or buy it on iTunes.

MP3: School of Seven Bells - Connjur (buy)
MP3: School of Seven Bells - Half Asleep (buy)

Official - www.schoolofsevenbells.com/
MySpace - www.myspace.com/schoolofsevenbells

Remaining Your Dates:

Nov 18 2008 10:00P - Middle East Downstairs w/ M83 Boston, Massachusetts
Nov 19 2008 8:00P - Studio Juste Pour Rire w/ M83 Montreal, Quebec
Nov 20 2008 8:00P - Opera House w/ M83 Toronto, Ontario
Nov 21 2008 8:00P - Bottom Lounge w/ M83 Chicago, Illinois
Nov 22 2008 10:00P - Triple Rock Social Club w/ M83 Minneapolis, Minnesota
Nov 25 2008 8:00P - Neumos w/ M83 Seattle, Washington
Nov 26 2008 7:30P - Richard’s on Richards w/ M83 Vancouver, British Columbia
Nov 27 2008 9:00P - Doug Fir Lounge w/ M83 Portland, Oregon
Nov 28 2008 8:00P - The Fillmore w/ M83 San Francisco, California
Nov 29 2008 10:00P - Henry Fonda Theater w/ M83 Los Angeles, California
Dec 15 2008 8:00P - Mercury Lounge New York, New York

Photo courtesy of imseeingred.com

Rating: 6.5/10

There couldn't be any album more obvious for the UK public to look forward to given Travis' prior credentials. Ode to J. Smith entered the UK Album Chart at #20, which is uncharacteristic considering their towering #1 releases over the past 10+ years. As far as this album goes, I'm not going to bore you and speak of Travis' infectious pop sounds or melodies, which have made them quite a household name over in the UK. I won't even dive into Fran Healy's vocals, because really, they're virtually the same throughout every album. He has that Erlend Øye complex where he'll just never really escape his own vocals and expand to something different, which in the case of Ode To J. Smith is what is most apparent here.

Ode To J. Smith, released under their own Red Telephone Box label, is Travis' sixth studio album. This time around the band is shedding all of their old skin, going against everything they once did and breaking out of their shell from the other hugely successful albums they've made prior to making this album their "loudest and edgiest yet''

So how did it fare? How did the band, who took over the charts with the release of every album over the past eleven years, hold up to their new sound and to their enamered fans who have been waiting for more of the same year after year? You may have heard the comparisons already. There are Radiohead comparisons for a few songs, and rightly so. Tracks such as "Broken Mirror" has the murky rhythm and ambience similar to Radiohead's "Lucky" from their OK Computer days. The band's composition has certainly changed in terms of guitar pedals and riffs used as well. If you listen to "Long Way Down", you'll realize this is indeed the rockiest and loudest Travis you've heard.

But however far the band may have pushed themselves in terms of experimenting, part of the album is quite lamenting if you took interest into their 2007 A Boy With No Name (which was not well received). This is apparent in their song "Quite Free", which carries their traditional melodical layering. If you enjoy more of the old, same style Travis is so well known for, you will also take an interest in "Song To Self".

Overall, this album surprisingly does not run the same threads as their previous albums did, and as Fran and Co. were not lying when they said they were going to try something new. Incidentally, their two week recording stint with Beatles engineer Geoff Emerick did the trick. Their managed to break out with their single "Something Anything" and pushed their limits even bringing in a choir for the finishing touch on their title track "J. Smith".

Every song is not a pure gem, however. The album is riddled with a few bad apples, which includes "Long Way Down", "Get Up" and their over-the-top closer "Before You Were Young", but overall, the album is full of pleasant, upbeat songs making it placating to the average listener. The reason for many of the bad reviews you will find out there are hugely based on this variance away from Travis' traditional melodies and yearning for the old, captured by his first four albums and perhaps too much experimentation with this new sound. OTJS does not appear not flawless either; there are no clear-cut singles to be found other than "Something Anything". In fact, nothing on OTJS could be compared to 2007's winner "Closer", or come close to my favorite "Big Chair". Indeed the band has moved on and experimented and in my eyes it is well-accepted. However, Ode To J. Smith will not be on my greatest albums of this year.

Check out Travis' cover of Britney Spears' "Hit Me Baby One More Time" recorded live in the Radio 1 Lounge. We'll admit, its much better than the original...

MP3: Travis - Hit Me Baby One More Time (Britney Spears Cover)

Ode To J. Smith was released in the UK on 9/29/2008 and was released in the US on 11/4/08. OTJS is not currently available for digital download on US iTunes, but if you would like to purchase it through UK iTunes, go here.

Official - http://www.travisonline.com/
MySpace - http://www.myspace.com/travis

(6.8/10) I never thought I would find one of my favorite songs of the year this week...

As I've been catching up on the slew of albums released this summer, Earlimart have been lingering in my ears since last year's Mentor Tormentor, which we placed "Nevermind The Phonecalls" at #49 in our top songs of last year. But this time its just the two you see above and since over time, the group has diminished to only vocalist Aaron Espinoza and his sidekick Ariana Murray (bassist/keyboardist/singer). Its hard to imagine now, that even Brian Aubert was once a part of the band named after a two-mile wide area.

The band has since been developing and blooming into something magnificent. I didn't get chills from Earlimart's Mentor Tormentor in 2007 and I didn't get any for Hymn & Her, but the album is sure-fire for what its worth. The production in the album is better, the craftmanship of each song lingers like that of their days of old, yet somehow each song takes a turn when you least expect it. Before I knew it, I could help but admit that I really enjoyed this album.

Aside from the composition of the album and the flow and entrancement it gets me into, like that of their inspiration, Elliott Smith, I found a few gems on this album, most particularly "Face Down In The Right Town". The song itself is a different direction that I normally fall into, but its near impossible to get caught up in the whispered "Doo-do's" of Espinoza's unmistakable voice.

All else aside, its a cool, summer song with an upbeat facade - rare for Earlimart. With Hymn & Her, its now noticable that the two remaining members of the band provided the biggest assets to Earlimart's success. With all other members cast off on this album, they created an album that is lush and palatable, yet even more lovable for their devoted followers.

MP3: Earlimart - Face Down In The Right Town (buy)

If you enjoyed this song, you can buy the album here.

Official - http://www.earlimartmusic.com/
MySpace - http://www.myspace.com/earlimart

Rating: 3.1/5

With five years of experience gluing them together, Two Sheds recently released their newest E.P.

While listening to this extended play record, the evidence of pieced together talents comes to light. Led by the songwriting and singing of Caitlin Gutenberger, each song on this five-track bunch of recordings pushes with her withering odes and daily mind matters.

Don't be downtrodden by this description though, as Two Sheds is more than just a string of token rants about life. The cajoling banter behind her vocals means measures to the completion of her soft lyrics. Aided mostly by the ever-plucking acoustic guitar play of James Finch, Jr., Two Sheds also benefits from the drum play of Rusty Miller and Johnny Gutenberger on the drums as well as many fill-ins for this compilation.

Out of the five tracks, "You" and "WTF?" stood a head above the rest. "You" is the focal point of the album as it opens up the E.P., showcasing Caitlin's personality and vocal melodic presence. Slowly the album progresses through the laid back tracks of"Perfect" and "Undertow", which both add the violin to their ensemble, courtesy of Matthew Shih and Melody Mundy. "WTF?" ascends a few decibals higher with a rock menagerie akin to the theme the title implies. Even backup vocals (Amber Padgett), tambourine and electric guitar sink to Caitlin's driving chorus of 'What the f***?" Lastly, "To Be Alive" settles the mood of Caitlin and Two Sheds' thinkings behind these tracks, as a solo artist feel surrounds the closing lyrics "but it breaks my heart to be alive, some times" while a tinkering chime fades to the end.

At a glance this E.P. reminded me of Kimya Dawson's efforts from the Juno Soundtrack in regards to the simplicity, while after a few listens the combined efforts of at least nine artists begins to become evident. A drawback could be the rough sound this E.P. exhibited at times, but the variety within these tracks is reason enough to pick it up.

MP3: Two Sheds - WTF? (buy)

Rating: 7.4/10

The strangely engaging harmony from Bridges and Powerlines could probably miss a chord several times in a song yet no one but the members of the group would know. No one would mind either. What the band from New York generated with Ghost Types stands alone every time it plays.

Formed out of Andrew Wood (vocals/keyboard), Keith Sigel (bass), Jon Crockett (guitar), and Pete Mucek (drums), Bridges and Powerlines emit their fresh take on each track in Ghost Types. From Woods’ rising vocals that remind one of making a song up as they go (except with excellent precision) to the pop-friendly synth melodies, the charm of the album presents itself at every corner.

Starting with the fan favorite “Uncalibrated”, the album opens as the keyboard and the vocals bounce and sing “I could make it cold inside just by being here.” “Floods and Fields” follows with a rockers mentality type song, which is highlighted by a more upfront drum sound, louder vocals and the first real guitar solo on Ghost Types.

The theme that tails every track is Woods’ well-pronounced, yet toned-down lyrics. The best example on the album comes with “Maine” at track nine. Although the whole tempo of the album briefly slows down around this section of Ghost Types, the shaking of the hi-hats and a strong electric guitar presence seem to drown out the vocals until “this is your last lie” closes out “Maine”.

Although a clean album throughout, “Uncalibrated” clearly contains the most zip. “Middle Child” and “The Ghost Types” both come close to providing another single but ultimately fall short. The album can casually be played but when looking for something to sing along or shake to, it doesn't have it.

Overall, Ghost Types manages to lighten up the room without ever flicking the power pop switch. It could be called a controlled effort by some but the wily transition of the album suggests a progressive pop approach without the catchy lyrics for many of the tracks. This is highly recommended to fans of French Kicks or Maximo Park. You can buy the album here or check out their sound on myspace.

Rating: 7.3/10

Commonly referred to as a great live show, the release of Lensing by a’tris a few months ago once again showcased why the fans in their hometown of Boston keep coming back.

Featured as one of MUF’s Bands You Must Know at the beginning of April, a’tris thrives on their ability to comprise quick-witted interludes along with frontman Mason Taylor’s calming, yet assertive, vocals. Despite not having catchy refrains or many poppy backdrops to their alt-rock sound, the four-man group still manages to systematically arrange all of their lead-ins, add-ons and breakouts quite fluidly.

A prime example of this intangible organization in the album is “Automatic Doors”. As one of the group’s headlining songs, it enters with a light synth before Taylor’s lyrics question and answer (keep it present) simple life questions. Soon enough the rest of the group tags in with a swaying drum line, a lead rock guitar, an undertoning bass and a faint cosmic set of clips to complete the synthesis many of the group’s 11 tracks on the album carry.

What jumps out immediately in Lensing might only be described as strong emotion. Although no screaming or thrashing ever takes the stage as the outcome of this emotion, the succinct thought process from one song to the next, keyed around Taylor’s harmonious delivery, sends this ‘heart’ through the speakers.

Perhaps the beacon of the emotional output in the album comes to full fruition in “This Mortal Engine”. Not typical of the album by its lulling singing and piano play for the first few minutes, Taylor voices “but you were there with me, and you said to me… you said, this isn’t how it ends, this isn’t how it ends, this is how it begins.” After these lyrics, the piano kicks in harder and the drums start swiftly by hitting the high hats. Taylor’s singing becomes a bit less clear through this final rise before the remaining instruments fade the song out.

The opening to many tracks hardly give any representation as to where that song will finally settle, particularly in Lensing. I was quite surprised by “Paradise is a Boxcar” to open the album since it didn’t lead in slowly or really portray the theme of the album as intro tracks generally do, rather it started quickly before gently being calmed back down before being energized again multiple times over with the rising and falling vocals of Taylor as its guide.

Like many tracks on the album, the “Bite the Bullet” intro on the other hand comes across as a build-up type song, since it begins with the same slow piano shown in “This Mortal Engine” before the vocals lift the song to a new rejuvenated level.

By opening the album with more of an intro, rather than an unannounced quick pickup, the transition in the album would have been much less noticeable.

Overall, a’tris mended their love for presentation with their honest emotions in Lensing and nothing can take away from that. They implemented several high-caliber tracks niftily throughout the album as “Paradise is a Boxer”, “Automatic Doors” and “Dark Lotus” all keep the album lively in their respective positions. My only regret with this album was that several songs didn’t transition properly, which made for unnecessary changes of tempo, thus hurting the overall sound of those songs. Beyond the minor shifts of the album, each song holds soundly by itself. Add Lensing to your collection and soon enough you’ll want to catch them live.

Make sure to check out a'tris on their web site as well as myspace page. Lensing can be found at iTunes.

Rating: 8/10

A few weeks ago amidst the Christian “Holy Week”, The Cast Before The Break’s debut album As Your Shoulders Turn On You (Red Dragon Records) came into my possession. Perhaps it was the time of the year that opened me up more to their pressing lyrics or the simple fact that in just six tracks I felt a part of something bigger than me. Whatever my reasons, the five artists (T.J. Foster-vocals/guitar, Jeremy Carter-guitar, Jordan Stewart-guitar, John Cannon-bass, Ben Hemingway-drums/production) from Oneonta, New York drew up some physiological framework that can really start one thinking differently.

Despite carrying a sound akin to pop alternative music, AYSTOY hardly comes across as typical of a genre overloaded with songs lamenting relationships and instrumentals controlled by solo escapades. Having honed an instrumental sound balanced not within but close to Sum 41, Explosions in the Sky, Death Cab for Cutie and Days Away, the group enthralls for all 30 minutes.

Since AYSTOY was shaped around the story of a young man in a coma, who is barely holding onto life, the lyrics carry a mental deliberation in them while the instruments relentlessly battle this angst.

Foster’s vibrant depiction of the emotion swirling in the album comes to life in each tormented lyric/thought. “Onward Love” opens the album with a hollow electric guitar before Foster’s vocals complain briefly before the song settles back with a strong melodic conclusion. What follows on the album vaguely mimics this undulating style as each track slowly gyrates up and down with each matchless refrain and instrumental ballad, whether through vocals, guitars, piano, bells or drums.

“From the Earth at a Crossroad”, The Cast Before The Break mixes a shortened intro laden with an evenly-spaced bass, a dreamscape guitar and simple drum riffs as Foster’s muffled vocals precede a rise into an intricate refrain where bells are tolling, guitars begin soaring and Foster, like Sum 41’s Deryck Whibley, swings between talking and singing. Hearing “As your shoulders turn on you, you're left with nothing but a spine” sinks any eager ear back to resting position for the rest of the album.

Following this, “Agnosia”, which is AYSTOY’s most alternative-friendly song, stars an acoustic guitar accompanied by the occasional electric. Although the beginning and end of this song are quite solemnly composed, the whole group seems to join in enthusiastically with Foster’s voice as he readjusts from a quiet storyteller to an emphatic lead vocalist.

“Understanding the Universe” opens with over a minute of slow piano playing and Foster singing, “I remember what its like to be in love” before an Angels & Airwaves-type build-up comes in as a synthesized wah-wah joins a slightly distorted electric guitar and quick rapping drum. Much like the rest of the album, the tempo speeds up in this track before falling. Here the band sings the anthem and the instruments jam, but slowly only the vocals of the band remain.

As Your Shoulders Turn On You winds down mildly with “Cerca Trova”. Although a strolling bass and guitar open up the song, no instrument controls the tempo quite as well as Foster’s heady voice, which calls out “love will you wait for me” as the human struggle comes forth with a heavy background of drum and guitar playing to the eventual ballads of “I’m terrified of who I am inside”.

“Relying on a Respirator” undoubtedly is the album’s most depressing and sweet song. Foster sings “Why am I dead, why am I sleeping” and the group hums in a spiritual manner while the piano taps away the end of the album’s short life.

Overall, the wavering spaced-out endings to the tracks really controlled the pace from song to song, enabling each transition to be separate yet linked. An underlying story behind an album always helps give an upgraded atmosphere, and something so depressing as a young death certainly strikes compassion in most people.

The fallbacks from the album were that there were only six tracks, Foster’s voice didn’t really separate him from many lead vocalists and the drum playing, although crisp and flawless, never was given the opportunity to control the tempo.

I would highly recommend this album for the sheer emotion and conglomerated talent The Cast Before The Break showcased. Any flaws were minute compared to the crisp delivery and production.

The Cast Before The Break will be playing in the finals of the Bamboozle’s The Break Contest, which concludes at Asbury Park, NJ on April 19. Check out their new web page as well as their myspace page, both of which you can purchase the album from.

MP3: The Cast Before The Break - From the Earth, at a Crossroad
Mp3: The Cast Before The Break - Cerca Trova

First off, let me say that I was not expecting something 8:36 long and this is something most bands do not do since they want to get their point across for what the rest of the album sounds like. If I were to take anything from this song and make an album based on just this one song, I would stand by the fact that this album is not upbeat, nor is it going to be over the edge with poppiness or catchy hooks, like many bands do to throttle their stardom. Death Cab, having more than a following may just further showcase each instrument, which is something that has been overlooked on the course of their past two albums.

"I Will Possess Your Heart" would make me look so right if this were the case for Narrow Stairs. The song is really just your classic DCFC intrumental, like that in "Stability" from the Stability EP (which is their longest song - 12:22 to be exact). It only takes a mere four minutes and thirty-six seconds until we hear Gibbard chime in, yet the song still does not pick up.

I'll get straight to the point - you'll love this if you're a DCFC fan, but it is by no means better than FIVE of the songs on Plans. I'll even name them: "Soul Meets Body", "Your Heart Is An Empty Room", "Brothers On A Hotel Bed", "Summer Skin", and "I Will Follow You Into The Dark". For me, Death Cab's best songs have generally been around three and a half minutes.

I'm not quite sure the purpose of making this song their single, since it ranks up there with other songs I would put at the end of an album (this song falls second in their track listing), but I can appreciate the slowed down instrumentation they used, although it wouldn't surpass one of my favorites "Transatlanticism".

The song eventually picks up at 6:46, but alas, it is too long for me. Perhaps their plan is to throw everyone off with this song and leave the true gems on the album to be heard later, afterall, it IS the singles that are killing the artists, isn't it? Cough, Cough!

"I Will Possess Your Heart" may be the "Yellow" of Parachutes - 6.9 out of 10.


Stream the song on WINDOWS MEDIA or REAL PLAYER


Lyrics
How I wish you could see the potential, the potential of you and me
It's like a book elegantly bound, but in a language that you can't read - just yet You gotta spend some time--love, you gotta spend some time with me
And I know that you'll find--love, I will possess your heart (x2)

There are days when outside your window, I see my reflection as I slowly pass
And I long for this mirrored perspective, when we'll be lovers, lovers at last
You gotta spend some time--love, you gotta spend some time with me
And I know that you'll find--love, I will possess your heart(x2)

I will possess your heart (x2)

You reject my advances and desperate pleas
I won't let you, let me down so easily, so easily

You gotta spend some time--love, you gotta spend some time with me
And I know that you'll find--love, I will possess your heart (x3)

I will possess your heart (x2)

Rating: 6.9/10

I find it hard to believe all the hype surrounding reviews from people I have never met. When I listened to Vampire Weekend’s self-titled debut for the umpteenth time, I thought of how differently people would view this work. I digress…

The Columbia University foursome of Ezra Koenig, Rostam Batmanglij, Christopher Tomson and Chris Baio filled this album with an array of African beats, classical instrumentals and lyrics entwined with the knowledge an Ivy Leaguer possesses. Without a doubt, the result is a refined compilation of well thought-out tracks. Unfortunately, the lack of consistency that many indie groups fail to capture when traveling from one recording studio to another beckons once again; this time on Vampire Weekend’s album.

Outside of the consistency drawback, key songs throughout the album string a cohesion that shows their basis for the album- classic instrumentals, such as the violin in “Bryn”, and the raw sound of Caribbean instruments, such as the djembe drum in “Cape Cod Kwassa Kwassa”. This fusion between classical and Caribbean jamming avoids any repetition on the album, albeit it still doesn’t mesh cleanly together.

Opening up, “Mansford Roof” plays a teetering drum tapping set while Koenig almost carelessly buzzes to the beat. “Oxford Comma” follows with a much slower keyboard and drum-edge rapping rhythm. The third track, “A-Punk”, which plays to its name, refreshes fond memories of the Tony Hawk’s Pro Skater soundtrack riffs, which never seem to wear out. The thumping background bass and up-front electric guitar strumming truly are punk, but I can’t remember a flute in those songs.

From this point in the album, the tempo decreases and the songs carry far less energy. “Cape Cod Kwassa Kwassa” mentions how “it feels so natural, Peter Gabriel”, but the real influence to this track could be linked to New Jersey native Paul Simon’s “Graceland” or “Diamonds on the Soles of Her Shoes”. “M79” continues this down-tempo trend, as a slow bass and sporadic guitar-plucking draw this song out to what feels like a long 4:15. Although hardly slow, “Campus” rids itself of the African influence and instead mimics some of the energy that “A-Punk” showed, except without the cut-loose mentality that punk songs entail.

Any bumps in the album are soon forgotten with “Bryn” at track seven. As Vampire Weekend’s most harmonious song, it switches its pace several times from a humdrum drum-based melody to its signature violin-laden refrain. Not only did this song transition well, the lyrics were simple, easy to remember and heart-warming.

The last four tracks on this album didn’t stick out. Perhaps “Walcott” could be considered catchy, but it once again lacked the energy that finely adjusted albums maintain. “One (Blake’s Got a New Face)” came across as annoying because of its most annoying noise in the world type high-pitched singing while “I Stand Corrected” and “The Kids Don’t Stand a Chance” slowly lulled the album to its end.

Koenig’s linguistics, although snappy and fresh with a myriad of new jargon, seem overly sophisticated for such a simple album. His singing style caters to whatever the tempo is although he is rarely heard singing in any solo fashion. He pronounced very clearly and his vocal highlights included “A-Punk” and “Walcott”, both in which he diverted from his straight down the center singing.

Although this album could be the best album of the year for some, I found it incomplete. The lyrics were more riddled with more unknown words than the Vulgate version of the Bible while the constant switching between the African and contemporary sounds hurt the album’s ability to be played cleanly through. The tracks are well done. To each its own, but as a whole this album failed to muster enough gusto to remain in my ears.

Rating: 7.9/10

When the Kingston Trio raced to the top of the charts in 1958 with the release of “Tom Dooley”, they set in stone a style molded around the folk banjo and mystic stories. Fifty years past that somewhat overlooked occasion, Sea Wolf has congealed a similar reverberation with Leaves in the River.

The absence of a banjo in Sea Wolf is obvious, but the hollowed out backdrop behind Alex Brown’s voice and the array of instruments sneak up on a casual listener. Aside from Brown’s vocals, the group consists of Lisa Fendelander (keyboard), Theodore Liscinski (bass), April Guthrie (cello), Scott McPherson (drums) and Aaron Robinson (guitar). With an expansive number of members, one might expect an album from a new group to clash more than not. Although Sea Wolf remains relatively fresh on the music scene, they avoid this confusion as each song on Leaves in the River features a new, yet familiar, resolution.

“Winter Windows” highlights Sea Wolf’s comfort with the vast sounds they wield as an accordion (via keyboard) and tambourine move energetically around Brown’s subdued lyrics of “it's the winter windows that ends become beginnings”. In “The Cold, the Dark and the Silence” Sea Wolf once again switches their sound from a typical guitar-laden track to a keyboard and cello centered song. The cello plays so thick that the whole atmosphere surrounding Brown’s harmonizing lyrics lay to rest in a shadowy corner. Throughout the album this unusual assortment of sounds is delivered so fluidly that it would appear the group is more than one group with one clear-cut goal of dynamic and dappled art.

Within the walls of their sound-laden fortress, the group melted many folksy stories into their first full-length album. “The Rose Captain” sang to a niche The Kingston Trio constantly perfected- the ode. Sea Wolf used a softly played drum and a hypnotically constant guitar to achieve the solemnity of such a song. The mention of a gypsy, which is a term mostly used in folk literature or poetry concerning nomadic minorities, appears multiple times in LITR, further deepening Sea Wolf’s immersion in storytelling through their songs.

While harnessing this old-time style, repetitious lyrics cement the emotion of each song. Sea Wolf’s most popular song on the album, “You’re a Wolf”, reiterates countless ballads line after line without losing any interest. Not only does this track appeal through its minimalist lyrics, but also a sense of motion pushes it forward. “Middle Distance Runner” exemplifies this shuffle onward as a guitar serenely plucks away while a “feet-hitting-the-gravel” sound blends into the background.

Leaves in the River rolls smoothly across any speakers as it hones to the whisper of storytelling. For any fan of folk music like The Kingston Trio or subdued indie group like Rogue Wave, Sea Wolf formidably delivers with this album. Apart from a few over-the-top rhymes in “Black Dirt”, the consistency of quality songs with efficient transitions overshadows any flaws. I find it hard to think that Sea Wolf could record the same album twice due to their always unique way to deliver lyrics and serenade a poem, so there should be no less expectation whenever they are ready to deliver again.

Leaves in the River (buy)
1. Leaves in the River (buy)
2. Winter Windows (buy)
3. Black Dirt (buy)
4. The Rose Captain (buy)
5. Middle Distance Runner (buy)
6. You're a Wolf (buy)
7. Song for the Dead (buy)
8. Black Leaf Falls (buy)
9. The Cold, the Dark & the Silence (buy)
10. Neutral Ground (buy)

Rating: 8.5/10

With a new opening track, Air Traffic finally released Fractured Life in the U.S. Here's our review:

Fractured Life should place Air Traffic into a noteworthy notch on the English rock scene sheet as they shy away from repetitive track transitions that can lose a first-time listener. This free-flowing conglomeration of songs could be seen as a thorn to an album but Air Traffic uses a personal touch of sentiment and personality from track to track to not only keep a first-timer in tune but also engulfed from start to finish. An example of this uncanny transition is first noticeable in “Charlotte” at track two and “Shooting Star” at track three. What happened here? Air Traffic shifted from a ‘box’ rock feel to a solo-sounding compilation. Their energetic electric guitar and fast-paced drum flips over to an individually performed set, like “Constantine” from Something Corporate, then changes into a head-bobbing piano-centered jam, like “Clocks” from Coldplay. This lively alteration is just an example of the unique flow Fractured Life has.