Cyrstal Castles - Crimewave

Alice Glass and Ethan Kath make up the Toronto based duo Crystal Castles whose Atari 5000 sound transitions from clean and casual beats to frantic fuzz. Though their self-titled debut has been out for less than two weeks the duo has been around for a few years remixing the likes of the Klaxons and Bloc Party while releasing a few singles along the way. "Crimewave" is a collaberation with LA-based Health and begins with a steady beat laced with echoing vocals before plummeting into a spiraling Atari-drenched solo. The song loops back to the opening verse except this time the beats hit a little harder and seem to carry a bit more reverb on them. The track is stellar and its sound stands in complete contrast with the distorted freakout of "Alice Practice," another high moment from their debut album and comes highly recommend if you are looking for something a little more chaotic.

And in case you were wondering...no the band isn't named after the 1983 Atari game of the same name. And yes, the band is named after She-Ra's (He-man's twin sister in the Masters of the Universe) refuge the Crystal Castle.
All tracks available on their myspace page.

Pavement - Elevate Me Later / Cut Your Hair / Range Life

Disclaimer: There likely isn't anything I can say about "Crooked Rain, Crooked Rain" that hasn't already been said and thus if you continue to read on you will likely be reading something you have already read or heard, only not from me.

There was a time when my 3 CD disc-changer was occupied by Slanted & Enchanted, Crooked Rain Crooked Rain & Brighten the Corners (upon first listen Wowee Zowee threw me for a loop and only after a few years did I begin to really appreciate its unique sound). I admittedly don't listen to these albums in the same manner any longer and it has become difficult to not allow the nostalgia and significance of the records to creep in when listening. For me Crooked Rain, Crooked Rain was the album that not only turned me on to Pavement, but to indie music in general. It's funny I will go a month or so without listening to this album and every time I go back and play it at some point I will stop and think "damn this record is good." In fact I think a strong argument can be made that Pavement has had more influence in terms of helping define the characteristics and aesthetics of indie music than any other band and if you accept that this may be their strongest album then weeelll...you can see where I am going with this...it is a significant album. The three songs included below are a great starting point for the record: "Cut Your Hair" is an all-out rocker, "Elevate Me Later" a tightly wound, hook driven pop/rock track & on "Range Life" Malkmus is in absolute peak form with his rapid fire yet smooth and casual delivery. On Crooked Rain, Crooked Rain Malkmus mastered what would go on to become his trademark lyrical delivery and showed that he was capable of utilizing the ability as an instrument to create more unique melodies. Just like in language where certain phrases take on different meanings based upon how they are said, Malkmus adeptly adapted that skill to his music.

Enjoy the tracks.

Black Kids - I'm Not Gonna Teach Your Boyfriend How to Dance With You

I wanted to post this song today for two reasons: 1) it possesses an amazing energy & 2) they nearly ruined it. When I first heard the demo for "I Don't Wanna Teach Your Boyfriend How to Dance With You" a few months back I immediately checked off the repeat box for another listen...and then another and another...and after internalizing the lyrics the obvious next step was to sing along with every line (some may argue that's when the song took a turn for the worse). Although the number of listens would eventually dwindle down to a couple per week I amazingly never tired of the song. The bright guitar and bouncy synthesizers blend well with Youngblood's spirited vocals and are only strengthened when the rest of the band joins in for the "1, 2 , 3...1,2,3,4!!!" bridge. The song fearlessly (and sometimes sloppily) barrels along from start to finish and any signs of the song being "unfinished" only seem to add to its charm. So, clean up the song a bit, add a little polish to each of the parts and the song is an undeniable hit, right? Well, maybe. When the blueprint you are working from is as infectious as this one it's pretty difficult to mess it up, but it does seem like they tried. The vocals on the newly released single are cleaner and more articulated. The bridge actually sounds like a cheerleader squad and because the instruments are crisper the disparate parts of the song are more pronounced instead of running together in one playful mess as it does on the demo. Yes the changes are subtle, but when added together it takes away from some of the charm the demo contains. The demo version of the song is below and you can watch the video on RYIH TV or directly via YouTube. You decide which is better.

Pete and the Pirates - Knots

On the explosive "Knots" Pete and the Pirates have managed to put a whole lot of rock into a small package. Clocking in at just a touch over two minutes the song brings to mind the tightly-structured verse/chorus of "That's Entertainment" by The Jam, albeit at a breakneck tempo. With harmonized vocals and dueling guitars Pete and the Pirates exude a youthful brashness as they sing-shout "get out of bed, its the wrong one / made out of lead, get dressed instead." Signed to the tiny Stolen Recordings label and based out of Reading, England, Pete and the Pirates have sliced away the fluff from "Knots" and are left with an infectious pop gem. Here's to hoping Pete and the Pirates can uncover some more like it...

Stephen Malkmus & The Jicks - Dragon Fly Pie (Live)

With Pavement, Stephen Malkmus arguably helped create the largest and most influential music catalog of the 90s. Along with Yo La Tengo, Guided By Voices & a few others he helped define what would eventually become the "indie" sound. In 2001 he made his solo debut with a self-titled release and although he has continued to put out high quality music it has never reached the same level he attained with Pavement. It seems as Malkmus becomes more skilled with the guitar it moves further into the forefront of his songs and in doing so the clever storytelling and rapid machine gun delivery he so effortlessly employed slips into the background. This isn't to say the trademarks he carved out with Pavement have disappeared all together, but there has been a noticeable shift. With Dragon Fly Pie the transition is very apparent as Malkmus almost seems to evoke the likes of Deep Purple, Led Zeppelin or maybe even a Jethro Tull (replace the flute with a xylophone and we may be getting somewhere). A slow lumbering fuzzed out guitar sets the mood as Malkmus spits out a few nonsensical lines which eventually makes room for one of his classic transitions, though using the aforementioned xylophone this time around. The outro of the song features some nice guitar work as he and the Jicks show off their exceptional musicianship. The album version of Dragon Fly Pie is probably the highlight of the album and is an excellent track by every measure, but there is something about the rawer live version that appeals to me and is why it has been included below. It is difficult to blame Malkmus for wanting to move beyond the Pavement days and frankly if he hadn't set such a high watermark with them it would probably be just as easy for everyone else to move on as well.

Thao - Bag of Hammers

If I had told you that Thao (Nguyen) was signed to Kill Rock Stars and you had yet to hear her, I would certainly forgive you for thinking her music might have an aggressive edge to it. In reality her sound couldn't possibly be further from whatever preconception you may have drawn. Thao and her backing group "The Get Down Stay Down" make music which could be the soundtrack of long summer days from your lost childhood. Even the title of her album "We Brave Bee Stings And All" hints at such. "Bag of Hammers" begins with Thao meldically singing over a short, catchy guitar riff (perhaps being strummed with a toothbrush as mentioned in her KRS profile). Her delivery suggests a sense of mischief as she impatiently waits for a friend to join her outside. The hooks quickly kick in and keep on hitting one after another as Thao sings about different methods which are employed in order to get the friend to come out and join the fun. The two analogies used in the song - bee stings & licks of ice cream - reflect its light-hearted feel and the tone of the album as a whole. If sugary pop songs are not your thing you may be a bit turned off by this track, but if you can appreciate a well written hook then wait no further to give this a listen.

Neutral Milk Hotel - In the Aeroplane Over the Sea / Holland, 1945

10 years ago Jeff Mangum released his second album "In the Aeroplane Over the Sea" and like many landmark pieces it was praised by some and utterly reviled by others. And in the long tradition of bold statements, the discussion is still actively playing out in some music circles. The record's sound is reminicient of a James Joyce novel put to music. The songs are full of strong imagery and their structure resembles a dreamlike state of disconnected thoughts and surreal behavior. The music compliments this lyrical makeup by utilizing a patchwork of sound (as opposed to a wall) seemingly influenced by everything from New Orleans Jazz to punk rock. Like the very best novels, "In the Aeroplace Over the Sea" welcomes the listener into the world of Neutral Milk Hotel which can be very much like walkng through (a sometimes dark) lucid dream. Sadly following a brief tour in support of the album Jeff Mangum decided to call it quits and disbanded Neutral Milk Hotel. Subsequent attempts to perform live have either been brief or resulted in self-described nervous breakdowns. Even if there is never another Neutral Milk Hotel album listeners will at least be able to enjoy what is certainly the definitive Elephant 6 release and arguably the most important recording of the 90s. Two highlights from the album have been provided below for your listening pleasure.

Yeasayer - 2080

Sometimes a song doesn't click after first listen and often times the best ones take multiple listens before you "get it." Such was the case with "2080" by Yeasayer. A few months back I added this track to a long playlist and though I enjoyed it, the song didn't stand out terribly more than anything else I heard that day. A few weeks went by and the 2080's turn on the playlist came and went and though I was unaware, it was slowly ingraining itself into my mind. I was then fortunate enough to catch the song performed live and that's when it all came together. The sounds I had been hearing in my head were not only executed well live, but the best portions of the song were even enhanced by impassioned deliveries and an interesting stage backdrop. Yeasayer follows in the footsteps of the Talking Heads & Tears For Fears in blending modern musical equipment and forward-looking sounds with the very primal roots of music. The song begins with on an ominous tone with Chris Keating belting out "I can’t sleep when I think about the times we’re living in, I can’t sleep when I think about the future I was born into..." The song effortlessly transitions between several melodies and vocal tempo changes all connected by a chorus complete with soothing harmonies. Yeasayer then puts their signature on the song by abruptly interrupting everything with a round of chanting before dissipating back to keyboard, guitar and then the chorus once again. The dynamic works well for Yeasayer and with "2080" they have one of the best songs of the last few months and the growing buzz to prove it.

Neon Neon - I Lust You

Neon Neon is the collaborative vision of Gruff Rhys (Super Furry Animals) and the eclectic Boom Bip. Their concept album "Stainless Style" (dropped yesterday) places the 80s before a mirror and demands a thorough evaluation of its good (and sometimes bad) moments. Calling "Stainless Style" a concept album isn't a slight, in fact the band describes the record as being themed around the life of John Delorean, the brilliant and ultimately tragic mind behind De Lorean Motor Company (you may know his most famous design, the DMC-12, better as the time-traveling car from Back To The Future). Delorean proves an excellent muse and his life a microcosm of the decade, but like any source of inspiration it only translates well if the artists are able to mold the material into their own. Neon Neon absorb all of the sounds of the 80s and reconfigure them into something new (aside from maybe "I told her on Alderaan" which I'm still not convinced isn't Huey Lewis & the News) though all along it remains clear the source of their inspiration. "I Lust You" is dripping with slick synthesizers and hooks while the male/female vocals play off one other before coming together for a swirling chorus. Welsh singer Cate Le Bon guests on the track and trades her lines with Rhys in a dead-pan manner before loosening up her delivery for the refrain. The song establishes sonic boundaries with the vocals and synthesizers and though it ebbs and flows within the construct it never fully breaks out at any point. It works well as do other highlights from the album such as Dream Cars (featuring the drumming talents of Fab Moretti from the Strokes) and Raquel.

Bon Iver - For Emma

My first exposure to Bon Iver (pronounced bohn eevair - French for "Good Winter" - the band is the song writing project of Justin Vernon) was "skinny love" and I didn't come away all that impressed. It was one of two tracks available on his myspace page and when the song reached its refrain the vocals wandered a little close to whiny territory for me and I moved on. Yes, I was premature to judge and when when I came across his video for "The Wolves (Act 1 & 2) " some weeks later it piqued my interest enough to dig a bit deeper. I then came across "For Emma" and was floored. The rhythm of the guitar seemingly captures a single instant while Justin Vernon paints a scene through sparse conversation; conveying more by what is left unsaid. After pulling you into the picture he rewards the listener with a stunning flurry of cascading horns in the spirit of Neutral Milk Hotel(lite) while occasional bursts of white noise are overcome by a soaring falsetto creating an inviting contrast and life to the music. It may be the recent 10 year anniversary of "In the Aeroplane Over the Sea" and my ears are a bit more attune to its sound but this song just seems to hit the right spot.

Deer Tick - Diamond Rings

Deer Tick hails from Providence, RI and began as the songwriting project of John McCauley. According to their bio the recently released (and excellent) album War Elephant (out on Feow! Records) "represents the fearlessness of a young man who will play a set at a New England sports bar while a Red Sox championship game is on the tube." A daring feat indeed.
On "Diamond Rings" McCauley comes to terms with a relationship on the outs over a floating melody pausing only momentarily to allow in a slide guitar and some poignant harmonizing. While seemingly at a loss when delivering the melancholy "so what good would fingers be if it weren't for diamond rings" he immediately follows with "now I know you are leaving me and I know I am ok."
Deer Ticks influences range from Neil Young to Nirvana to Townes van Zan and self-describe their sound as "super sweet blues, country, and grunge influenced music." All very good things and not surprisenly it makes for a very nice sound.

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