Bon Iver - For Emma, Forever Ago

Bon Iver
For Emma, Forever Ago
(Self released)
10.0/10

After the break up of Justin Vernon’s former band, DeYarmond Edison, he packed up his bags and moved to a remote cabin in Wisconsin to be alone for four months. While in his solitude he passed the time by recording For Emma, Forever Ago, under his new Moniker, Bon Iver. He self released the album, selling it only through myspace and streaming his full album on Virb. Someone at Pitchfork stumbled across Bon Iver and wrote a praising review which exposed Vernon for what he is, a musical revelation. Attention and praise for the album resulted in Jagjaguwar deciding to put him on their roster. Bon Iver’s For Emma, Forever Ago will be released on Jagjaguwar sometime next year. Until then I suggest you go to his Virb page and hear for yourself one of the most gorgeous and soulful albums of the year. I cannot sing enough praise for this beautiful slew of songs. The rumination of mumbled lyrics and ghostly experimental lulls ebb and flow on like a beautiful ocean tide. For Emma, Forever Ago is simple and expressive, and heartbreakingly lonely. It’s quiet reflective folk, with sentimental lyrics, but not sappy by any means. After the album finishes, the melodies haunt you. They will stay with you, change you mood, your outlook on the day, and force you back for a second listen. Indeed, I have listened to the album all the way through 9 times today. I am completely satisfied with it and only it and doubt that anything else will be appealing enough to make to break away from pushing repeat over and over and over.

-Sassigrass

Stream For Emma, Forever Ago on Bon Iver’s Virb page

Black Lips - Good Bad Not Evil

Guest Review
Black Lips
Good Bad Not Evil
(09.2007, Vice Records)
7.5

They always say that you only get one chance to make a first impression. I’m not quite sure who they are that always say that, but it seems true enough. And so it goes with albums. For some reason the first song from Black Lips’ new album that I listened to was the third track, "Step Right Up." My first thought was that they want to be The Velvet Underground. Since that inauspicious beginning I have hardly been able to extract the Lou Reed from my impressions of Good Bad Not Evil. And when I finally do, it’s only to replace the direct lineage of Black Lips songs from one historic band to another. "O Katrina!" is a band trying to be the Animals. "It Feels All Right" is the B-52’s. "How Do You Tell A Child That Someone Has Died" was meant to be on the O Brother Where Art Thou soundtrack.
In truth, I really like this album, and more so with each listen. However, Black Lips lack an identity of their own that would add credence and power to their catchy, bluesy songs. In fact the few songs that don’t reflect a direct influence from some other band are the weakest ones of the bunch, and to their credit, Black Lips limit those numbers to a curious few. Whether my perceptions of direct influences are accurate or not, Black Lips’ Good Bad Not Evil, is an album that buoys itself up with the strengths of past bands, and not necessarily to its detriment. Their songs don’t seem out of place, or dated, and their energy and straightforward presentation adds to the bands character. This is not an innovative band, nor an album of far reaching influence, but it is one that will appease any inclination to rock, and encourage you to nod your head as vigorously as your uppity hipster attitude will allow.

-Spruce Lee

Aa - GAame

Aa (BIG A Little A)
GAame
(04.2007, Gigantic)
9.5/10

Like an invading tribe of electronically advanced, alien gorillas, Aa (BIG A Little A) seamlessly combine the prehistoric and the futuristic in their tenacious attack. And, building on the previous comparison, they are both violently absurd and gloriously entertaining in their musical assault. The forefront of Aa's power is their passionate polyrhythms. Imagine the alien gorillas again in a blazed drum circle, chanting and screaming as they pound away, and you will begin to capture the essence of the experience of GAame. And now the futurism – gorillas seem to be an animal a little too dense to be managing some of the elaborate distortions and freakishly wonderful melodies that come into play on top of GAame's drum-beat cacophony, so you will have to lend your mind's eye to some other, more mischievous, smaller primate to take the task of these embellishments. Before you know it you'll have some mashup of The Jungle Book, Congo and Total Recall playing in your head to this tightly wound, musical sprawl. The album is short; just over thirty minutes, so as not to evoke madness. It is a perfect length really, and an almost perfect CD. It feels like a lighter companion piece to Raccoo-oo-oon's Behold Secret Kingdom or a distant cousin to Animal Collective's Here Comes the Indian, but trumps both on accessibility. Gloriously executed, Aa's GAame is here with it’s alien apes to destroy your senses and jump you into its gang of quasi-dance destructionism? Trust me, its good.

-Mr. Thistle

Aa (BIG A Little A) - Thirteen

Seabear - The Ghost That Carried Us Away

Seabear
The Ghost That Carried Us Away
(10.2007, Morr Music)
9.0/10

Have you ever been somewhere that you feel incredibly safe, the sun coming though a window, wrapped in a blanket, closing your eyes in the mid afternoon, and just realizing how incredible it feels to be in that place, alive, taking a nap, reading a book, or just thinking? The Ghost That Carried Us Away feels like a soundtrack to just those moments. It's soft and simple, and yet somehow very full and abundant. It's pattering drum beats keep the music optimistic, while the cool, slowly sung vocals keep it mellow. A myriad of other instruments fill in any bare spots leaving a warm innocent acoustic sound that is emotional in a subtle way. The Ghost That Carried Us Away is an incredibly appealing album, but not in an in-your-face kind of way. It won't jump out and force you to love it. Rather, it waits for you to be listening to it at the right moment, and Fall seems to have a lot of those right moments. It's Earthy sound, wandering violins, slight tambourine, piano, and dual vocals perfectly compliment falling leaves, afternoon walks, and blankets.

-Sassigrass

Searbear - "Arms"

Alex Delivery - Star Destroyer

Alex Delivery
Star Destroyer
(04.2007, Jagjaguwar)
7.0/10

The opening track of Star Destroyer, "Komad" is a glitchy experimental mess of a song, with loud percussion, screeching noises, and haphazard vocals that almost harmonize, but not quite. It builds up for some time before going into an industrial bridge which brings you into the last half of the song, reminiscent of the Dozers on Fraggle Rock mixed with other mythical creatures and the harsh monsters that pursue them. "Komad" is an absolutely great track, if only that could be said about the rest of the album. The subsequent tracks on Star Destroyer loose that "Komad" edge, replacing it with a lot of messy haze and mediocrity. There are great moments scattered throughout the entire album, but there really isn't another track without at least a bit of boring in it. The vocals especially loose their edge and begin to sound like a drunken karaoke lazily thrown across the music rather than working with it. Star Destroyer has loads of potential. I just don't feel that it reached as high as it could have. It's still a very interesting listen and I am excited to hear more from Alex Delivery. They have stumbled across a great sound, I'm just not sure they know quite what to do with it yet.

-Sassigrass

Alex Delivery - "Komad"

Shows This Week

Shows This Week Friday, (11/02) Regina Spektor will exude her playful charisma at In The Venue. This should be a really charming show.



Friday, (11/02) same night as Regina but undoubtedly later because of being booked at the Urban Lounge, David Kilgour will be playing his hazily beautiful songs till who knows what time. Catch both shows!

David Kilgour – "Son of God"

Saturday, (11/03) our live pick of the week is Velella Velella who will be bringing their electro glitch hop party blitz to Kilby Court. Unmissable.

Velella Velella on Myspace

Sunday, (11,04) Cryptacize will be playing an awesome set at Kilby Court. The band contains Ex-Deerhoofians, Nedelle; essentially it looks like the exact lineup of Curtains minus the bassist from last year’s tour. Check the video – should be wonderful:



Sunday, (11/04) The Ponys and Chin Up Chin Up will be playing at The Urban Lounge with Alela Diane. Good indie show for the kids...



11/7 – Ghostface, Rakim, Brother Ali – Harry O’s
11/7 – Do Make Say Think, Apostle of Hustle – Urban Lounge
11/9 – De La Soul – The 23rd Floor
11/13 – The Velvet Teen – Kilby Court
11/13 – Charalambides, Alasdair Roberts – Urban Lounge
11/14 – Kid Theodore, Sea Wolf, Saturday Looks Good To Me
11/15-18 – “High School Musical” on Ice Tour – Energy Solutions Arena
11/16 – Celebration – Kilby Court
11/16 – Of Montreal, Grand Buffet – In the Venue
11/16 – Fog, Old Time Relijun, Vile Blue Shades, The Soundtrack Scene – Urban Lounge
12/4 – David Bazan – Kilby Court
12/7 – Iron and Wine – Salt Air
12/14 – Eyedea and Abilities – In the Venue

Valet - Blood Is Clean

Valet
Blood Is Clean
(04.2007, Kranky)
8.5/10

Valet is the ethereal alias of Portland's Honey Owens. On her solo debut, Owens has created a menacing spectral treat that drifts magnetically through air. The opener, "April 6," quickly aligns Valet with Portland compatriot Liz Harris (aka Grouper) with its whispery, layered vocals before giving way to lightly layered tribal sounding percussion. While the general feel of Blood Is Clean maintains similarities in tone to Grouper's wonderful releases, Owens definitely creates her own ghostly persona with a welcomed variation of instruments and vocal approaches. The second, and title track, "Blood Is Clean," is upheld by a grainy guitar and propelled by a haunted lyrical sermon which then transitions into a distorted six-string exorcism. The remainder of the album wades through minimalist tapestries covered with noise shrapnel, hollow vocal eulogies and subtle, looped drums. The result is a series of deliciously cold soundscapes that are more dynamic and engaging than your average experimental drony-ness. A perfect mention for the October season, Blood Is Clean is a veritable ghost of a record and a searing addition to Kranky’s already towering year of releases.

-Mr. Thistle

Valet- "April 6"

Foot Ox - Ghost

Guest Review
Foot Ox
Ghost
(10.2007 String Wind Percussion)
8.0/10

"You're staring at your sleeping 3-year-old daughter. Just remember she can't survive on Top Ramen and tap water. So send her back to the factory where they make human beings. Her tiny crippled face will always haunt your vivid dreams until you're numb." And so goes the morbid romp that is Foot Ox's debut album, Ghost. Foot Ox hails from Tempe, Arizona and plays a strange brand of pop folk that reminds me of a quirkier, more youthful Neutral Milk Hotel (minus the distortion) with Sad Sappy Sucker era Isaac Brock vocals. Foot Ox is lead by Teague Cullen with the help of over a dozen friends and a toy box full of instruments ranging from a circuit bent Casio, pianolin, xylophone, harmonium, singing saw and anything else you might pick up at a thrift store. On each of the twelve tracks Teague paints mental pictures with his pre-pubescent vocals (a draw for me, maybe a turnoff for others) about horrible demons, bad mothers, a girl with a pig's head, and growing up. All of these mini adventures are quick and the whole album is over is under twenty minutes. Which is fitting, because often life's most simple pleasures are over as soon as they arrive. But I guess you can always press repeat.

-Wooly Mammal

Foot Ox on Myspace

Wooden Shjips - Self Titled

Wooden Shjips
Wooden Shjips
(09.2007, Holy Mountain)
6.5/10

Hype can get you into a lot of trouble. Voxtrot, for instance, seemed to be the perfect examples of hype as they released three solid EPs in a drawn out period awaiting their debut. Increasingly anticipated, once the album dropped the overwhelming expectation destroyed the mediocre album. Wooden Shjips are in the same boat. Having released two wonderful, limited edition vinyl releases (a 7" and 10") of blaring, sun-baked psych, the band seemed destined for a gloriously lauded debut. But alas, on their self titled debut they have lightened their sound and broken their previous promises. The hazy retro outfit’s extended jams have turned stale, lacking the previous buzz and rumble. The bands ancient 70's grit has also started to resemble, more than idly, The Doors. Simply add a lazy, slightly reverberated psych guitar to Morrison’s vocals and Manzarek’s keyboard and there you go. The potential here is still thrilling which makes the record all that much more disappointing. Not a terrible record by any means, but also not terribly exciting by any measure.

-Mr. Thistle

Wooden Shjips - "We Ask You To Ride" excerpt

Gowns - Red State

Gowns
Red State
(03.2007, Cardboard Records)
9.0/10

Like an army of dark clouds devouring a vast Midwestern skyline, Gowns' debut album, Red State, is a dark, brooding storm of dangerous Americana. Architected by Ezra Buchla and Erika Anderson, Red State feels like a dilapidated town in the middle of nowhere between Salt Lake and St. Louis. Aside from its inherent, decomposed beauty, Red State also contains a loosed beast whose tense presence reeks of an impending attack throughout the album. What Gowns have created here is something of a beautiful horror. The songs alternate succinctly between Ezra and Erika on the lead vocals over tormented guitar and a few ominous, broken electronics treatments along with occasional drum flourishes from contributing member Corey Fogel. The effect is simultaneouly minimal and overpowering. As an album, Red State is a masterfully series of emotional highs and lows, perfectly sequenced, working cinematically like a Darren Aronofsky film. By the time Ericka's voice desperately croons over the last half of the closing track, the completion of the album feels like some harrowing, unfathomable journey. Gowns play kind of like an amalgamation of PJ Harvey, Bonne ‘Prince’ Billy, A Silver Mt. Zion and Sonic Youth in their grittiest forms. Who knew folk and noise would create such a satisfying marriage? And, even with all its' austerity, Red State makes for a highly repeatable, beautifully fractured ride. Red State is an album to marinate with; perfect for Halloween too!

-Mr. Thistle

Gowns - "White Like Heaven"

The Future of The Ghost - Freak Out

LOCAL REVIEW
The Future of the Ghost
Freak Out
(10.2007, Self Released)
8.5/10

Local rock star Will Sartain has yet again assembled an incredibly solid group of talent for his current musical project, The Future of The Ghost. Their first album, Freak Out, was released in conjunction with an exceptional opening set for Deerhoof earlier this month. The Future of The Ghost is a great live band. Their sound is solid and consistently gets the crowds' heads rocking. I was worried that the energy from their live shows wouldn't carry over well to disc, but surprise, it does! It's twelve song of pure energetic pop rock, catchy as all get out. Will's forced vocals work well in this standard rock setting. The recording quality is high. The sound is crisp and precise. The only downfall of this album is it's occasional likeness to subpar pop punk of the nineties, and by that I mean- some songs remind me way too much of Millencolin (particularly track #3.) Don't get me wrong, those moments are few and far between. Most of the album is comparable to standard rock masterminds of our time, particularly Figurines, (especially on "Love") whom I absolutely adore. Most of the stand-out tracks are in the first half of the album. "Run Free Little Bird", which opens Freak Out, title track "Freak out" and "Counter Culture In The Twenty-First Century" are some of my favorites. Although, I am also quite fond of the closer "It Goes Down" as well. It's a perfect track to finish off an incredibly solid and consistent rock album.

-Sassigrass

The Future of The Ghost on Myspace

Splint! - Moro

Splint!
Moro
(03.2007, Lampse)
8.0/10

Tangling a new highlight in the surprisingly sprawling arena of experimental Norwegian free jazz, Splint! (so many exclamatory punctuations hanging off band titles nowadays. Its as trendy as having 'black' or 'wolf' in your band name.) actually carry some defined boundaries to their improvisational charm and are all the better for it. Utilizing a heavy dose of electronic meddling and electro-acoustics, Moro is simply an audio treat for the exploratory music fan. Drawing comparisons (as well as former members and contributors) to the juggernauts of Scandinavian free jazz, Supersilent, Spint! ruminate over similar peaks and valleys under the former's towering shadow, but, in light of Supersilent's recent release of 8, have beat the group at their own game with Moro. The band is at its best when drummer Jarle Vespestad is propelling them forward, but they still manage some entrancing numbers that operate at much slower, more contemplative speeds. Interesting as these tracks are, a string of slower tempos during the middle of Moro strain the 'fun' that the Norwegian album title translates to. Though not without its faults, Moro is a exciting debut and welcome addition to a burgeoning scene.

-Mr. Thistle

Splint! - Sintjom excerpt

Kemialliset Ystävät - Self Titled

Kemialliset Ystävät
Kemialliset Ystävät
(05.2007, Fonal)
9.0/10

I don't know how my favourite childhood movie, The Labyrinth, has made it into another one of my reviews, but it is really making me wonder what kind of long term damage David Bowie's tight pants may have had on me. Anyway, childhood scarring aside, Kemialliset Ystävät's untitled (and if Wikipedia can be trusted) 40th release baring the band's name seems to be continually conjuring the goblins of Jim Henson's creation. In fact, I am absolutely certain that if they weren't lead by David Bowie (Jarath to you believers), those catchy tunes, glorious in their own right, would quickly turn in to this ramshackle catastrophe. This is a good thing. Kemialliset Ystävät have created an absolutely mind blowing catastrophe. With a veritable circus of instruments and a virtually unlimited amount of musical ideas, Kemialliset Ystävät are, quite simply, the most wonderful thing since, well, The Labyrinth. The unpronounceable Finnish band's name translates to "the chemical friends" which carries its own apt allusions as the band does seem somewhat friendly and certainly have an air of something chemically induced. The effect of the music might take the form of the Boredoms as chopped up and spewed out by an early Animal Collective and then rearranged by Black Dice. That may sound like a complicated description and it probably should be more complicated. When listening, I can't stop thinking about that battle at the end of The Labyrinth when Ludo summons the rocks to battle the goblin hordes. This album would probably be a fitting soundtrack to that scene as well. This is probably a garbled mess of a review but, if so, it is a telling effect of the music. Embarrassingly ambitious and astoundingly rewarding, Kemialliset Ystävät is the party album of the century. In fact, put this Disc/LP/Cassette on at your next party and just see if all the characters from The Labyrinth don't spontaneously appear just like they do for Jennifer Connelly at the end of the movie when Hoggle lovingly offers "…if you need us..."; trust me, you need this!

-Mr. Thistle

Kemialliset Ystävät myspace

This Week in Shows

There are about a million good shows this week, so take heed:

Tonight (10/22), stream-of-consciousness wordsmith Aesop Rock will be headlining a hip hop must with FG praised Black Moth Super Rainbow on their second show in SLC within the last few months; a highly recommended show featuring additional sets by Blockhead and DJ Signify at In the Venue.





Wednesday (10/24), Urban Lounge will host our live pick of the week with Caribou sporting dual drummers and support from Born Ruffians. Go see this show!!






Friday (10/26), In the Venue will be dropping the bass lines again for indie hip hop superheroes Busdriver, Daedelus and Antimc. I am really excited for this show.






Saturday (10/27), Kilby Court will be hosting Menomena(!) in an effort to steal away the crowning night of the weekend; however, they have competition…




Saturday (10/27), Architecture in Helsinki plan to battle their trendily exclamated competitors with a twee-gone-B-52s assault that will hopefully rely on old material. Regardless, being acquainted with AiH live, this will most probably a booty shaking smackdown.




Saturday (10/27), oh, what this? That’s right: forget any plans you may have had for either Architecture or Menomena! because Vanilla Ice (you read that right: V-a-n-i-l-l-a I-c-e) is ready to rock the mic like a vandal at the now ironically named bar and grill, Teazers. This show is going to be so incredible I am going to have to steal away my live-pick-of-the-week title from Caribou and slap it right here! So excited!

Cloudland Canyon - Silver Tongued Sisyphus

Cloudland Canyon
Silver Tongued Sisyphus
(09.2007, Kranky)
7.0/10

After taking notice of their deliriously exciting debut, Requiem Der Natur 2002-2004, from last year, the enamored experimental giants over at Kranky have added Cloudland Canyon up to their virtual monopoly on terrific music. Making a quick follow up, Cloudland Canyon seem to be warming up to their new home with this two track EP. The two tracks on Silver Tongued Sisyphus drift on just past twenty minutes expanding their alien forest textures into continually new realms. The first track, "Dambala," builds through lapping waves of gentle feedback colored by an array of electronic chirps and whirs. Midway the track breaks info a piano motif and begins to build again with an increasing number of layers being added along the path before the track eventually disappears. The second and title track builds slowly and similarly for about three minutes before being injected with an ominous hum, drums and repetitive German (?) vocals. The track is colored with assorted krautrock flourishes before fading in a similar fashion to its’ predecessor. While both tracks are interesting they fail to do much more than act as filler to what is hopefully the new home of an upcoming sophomore release. With Kranky at their back, Cloudland Canyon seem destined for great things.

-Mr. Thistle

Cloudland Canyon on Myspace

Radiohead - In Rainbows

Radiohead
In Rainbows
(10.2007, Self Released)
9.0/10

The dust is still settling from the insanity that In Rainbows produced. Given ten days to adequately rile ourselves up, the blogosphere turned into slobbering pack of hungry dogs counting down the days like little girls standing in line to see their favourite dreamboat from Tiger Beat magazine. And as the downloading ensued a veritable wave of critique spread instantly across the web. Now, nine days after the 'virtual insanity' and nine days with In Rainbows, I feel like I may not have any new insights here. Radiohead simply created an extremely solid batch of ten songs that, as a friend of mine has mentioned, don't take a lot of mental investment to enjoy. That isn't to say that the songs aren’t complex or original, but this time around Radiohead seems to have stripped the post-OK Computer experimentation they have been running with and affirmed themselves, not only masters of audio innovation, but masters of the song. Crowned with dizzyingly good songs like "Nude" and "All I Need," In Rainbows simplicity also reasserts Thom Yorke's voice as the quintessential voice of our generation. Even with all the imitative Yorkian vocalists that have budded during Radiohead's career, Thom's voice singularly maintains that otherworldly beauty caught of balance with a tarred lung of humanity. He has no equal. One thing this brief period of listening to In Rainbows has proven is that these songs aren't going to fade away because of their more generic approach. If anything they seem to resonate clearer and more powerfully on each listen as preconceptions about what the album should be are slowly removed. This may become your favourite Radiohead or it may not, but one thing is for sure: Radiohead's streak continues - they are incapable of making a bad album.

-Mr. Thistle

Download In Rainbows here.

Sunroof! - Panzer Division Lou Reed

Sunroof!
Panzer Division Lou Reed
(08.2007, VHF)
8.0/10.0

Sunroof! Is the alter ego of prolific noise man Matthew Bower. Bower has a pretty impressive resume already as a member of Skullflower, Hototogisu and formerly of Total. He has also been a contributor to the Vibracathedral Orchestra and recently started a new project called Mirag to add to the limitless number of albums with which he has production credits. While Sunroof! has generally tended to be his most blissful project, Panzer Division Lou Reed is definitely the most abrasive Sunroof! album yet. Bower brings a couple friends aboard including Sunburned Hand of the Man’s John Moloney on drum smattering and Mick Flower, of Vibracathedral Orchestra, assigned to guitar torturing. Bower remains at the helm, piloting the vociferous bluster of Panzer Division Lou Reed into an ecstatic revelation. Obliterated buildings of static feedback, frantic, jumbled drumming, psych guitar noodling and the deep forest squalls from jungle primates join forces to create a stack of deafening grandeur. Panzer Division Lou Reed unfolds in four lengthy tracks, self conscious of the time necessary to patiently penetrate them. Like the grizzled TV static of an empty cable station hijacked by noise terrorists and injected with melody, Sunroof! is a monstrous breath of fresh air.

-Mr. Thistle

Sunroof! - "Slew Plateaus #1"(exerpt)

Liars and Interpol Live At In The Venue

Guest Show Review
You remember silly putty. And how you could press it on a picture in a magazine and then stretch out the face into some humorous abstraction of the original. Well imagine pressing some silly putty on a life size version of Mick Jagger. Then begin stretching it taller and taller until you reach the point just before it becomes ridiculously too tall, but almost. Then exaggerate the already cartoonish characteristics of his face. Put a white suit on it and stick a microphone in its mouth and you have Liars’ lead man Angus Andrew. Once complete, place him on stage and have him prance around maniacally while spitting out verses over drone and reverb-laden tunes and dancing in the oddest manner imaginable. This is the spectacle of Liars. And if not winning over the In The Venue crowd, they definitely made them take notice. After their first song, the two guys standing directly in front of me looked at each other in horror as I smiled to myself. After the second song, one of them leaned over to the other and said, “I’m warming up to them.” The other responded by rolling his eyes. I guess he wasn’t warming.
The set was mostly taken from their most recent release, with a few songs from their next album. As a performance, they were wonderful, but musically they have always left me waiting. The percussion is amazing, and strong enough to sustain nearly any song, but it seems that Liars have recently leaned a bit too much on their strong rhythm section, and not enough on equally interesting melodies and instrumentation. As a result the songs are full of opportunity, but lacking in payoff. But as a stage presence, Angus Andrew and Liars are a show that no one should miss.
Interpol came out donned in, surprise, Black! They then preceded to melancholy the crowd into euphoria, whatever that means, or however that is possible. I was a bit skeptical of their live performances, having heard the tail end of their set at the Curiosa festival a while back, but in the hazy, dark, atmosphere of In The Venue, their songs sounded remarkably crisp. Paul Banks vocals, the culprit of my prior skepticism, were spot on and their linear guitars and backing bass, keyboard, and drums sounded great. However, it was quite a contrast going from the energy of Liars, to the stoicism of Interpol.
Being only somewhat acquainted with Interpol’s newest album, about a quarter of the way through their set they could have been playing the same songs over again and I wouldn’t have been able to tell. But that is part of the charm of Interpol. They have their unique style, it fits them to a T, and like the Strokes, for better or worse they don’t stray far from their established identity. And in the end, Identity is really what Interpol is all about, and they definitely succeeded in maintaining it.

-Spruce Lee

Mark Templeton - Standing on a Hummingbird

Mark Templeton
Standing on a Hummingbird
(02.2007, Anticipate)
9.0/10.0

Mark Templeton isn't mining particularly new territory with his debut release, Standing on a Hummingbird. Fitting somewhere snuggly in-between Keith Fullerton Whitman's almost good natured blips and bleeps and Christian Fennesz's engendered static grind, Templeton's predecessors have left some large shoes to fill (exceptionally large when you consider that the previously mentioned two are pretty much still wearing these proverbial shoes by their consistent and continual output). In fact, the industry of electro-acoustic instrumentals is already, pretty much, overflowing with imposters as well as second and third generation successors of the form. Templeton introduces naked acoustic instrumentation and glitch electronics that have already been well explored by Geoff Mullen and Chihei Hatakeyama. All this might sound disconcerting and hopefully, as readers, you have made it this far because despite Standing on a Hummingbird’s inherent similarities, Templeton has injected that invisible "it" factor that makes this a refreshing and soaring success. It is this indescribable "it" that is the separator of bland imitators and the meticulous sound artists. The genre of electro-acoustics – similar to a lot of "experimental" music sub genres - has become bloated because of its simple surface replication. However, it takes sincere depth of production to create a masterwork; something that will become a timeless and repeated listen for its audience. Mark Templeton has created this impact. Standing on a Hummingbird is an exciting release and the first for the newly created Anticipate label. I couldn’t imagine a better way to start. Keep an eye on Anticipate because, as they have shown here and on their subsequent releases, this label is out to quietly release some of the best electronically treated music imaginable. Standing on a Hummingbird is their first and their watermark; a subtle patch of downtrodden beauty that must be heard.

-Mr. Thistle

Mark Templeton - "Goodbye to You"

Retrospective - Otis Redding

Retrospective Guest Review

Otis Redding
The Dock of the Bay

(02.1968, Elektra)
10.0

Otis is KING. Many have a qualified form of royalty, or in some instanced anointed themselves. The King of Pop, the Queen of Soul, king of the hill, etc. But in reference to Otis Redding no qualifier is needed. Although primarily a soul man, Otis’ music is infused with blues, rock and roll, jazz, country, and big band underpinnings. And from his explosive live performances, to his untimely death, Otis’ music is a tutorial in passion, sincerity and playfulness that has been all but lost on the cynicism of today. Most people are undoubtedly familiar with Otis Redding’s biggest hit, (Sittin’ on) The Dock of the Bay, which was released following his death in an airplane crash, but it is important to know a few other things about Otis Redding. Early in his career Otis was really only recognized in the south, but at The Monterey Pop Festival that largely changed. The Saturday lineup at Monterey dictated that he follow Jefferson Airplane, who due to their popularity at the time were effectively headlining the entire weekend. In this un-envious position, Otis emerged on stage and literally stopped people in their tracks. Having just finished watching Jefferson Airplane, most of the crowd began to head for the exits considering the day as good as over, it wasn’t. Otis was on stage, and according to Bob Weir he was “God on stage…shooting lightning and sparks.” Six months later Otis was dead, he was 26. Like many great painters, and writers, Otis’ music wasn’t greatly appreciated until after his death, and if your acquaintance with his music only extends as far as The Dock of the Bay, it still isn’t fully appreciated today. You remember when Aretha sang R-E-S-P-E-C-T? Before that song became an anthem for women’s rights, it was actually written and recorded by Otis’ promising his woman everything she wanted as long as she gave him a little respect when he came home. Otis was also fond of covering great songs of other great artists including The Rolling Stone’s Satisfaction, and a number of Sam Cooke classics. On each of these renditions Otis injected his passionate delivery, often extending his voice beyond its own limits to give it an emotive effect beyond that of any of the soul singers of the time. Now back to the album, The Dock of the Bay begins with the classic song of the same name. I’m not exactly sure what more can be said about a song that contains sounds of the ocean lapping and an incredible whistling outro, but for me it stands nearly alone as one of the few classic songs that despite being overplayed, does not get old. The album veers back and forth from one end of the emotional spectrum to the other without ever losing momentum. From the playful "Don’t Mess With Cupid," to the revival inspired "Glory Of Love," to "Tramp" where Otis and “the Queen” Carla Thomas banter about Otis’ country roots and lack of sophistication. The bantering literally begins:
Carla: “TRAMP!”
Otis: “What’d you call me?”
Carla: “TRAMP!”
Otis: “You Didn’t!”
Could it get any better? Actually yes, this is when you stop reading unfounded reviews, and listen to an incredible album.

-Spruce Lee

Otis Redding live at the Monterey Fesitval

This Week in Shows

Tonight (10/15), Liars will be supporting Interpol at In The Venue tonight! I can’t vouch for Interpol live, though I am sure they hold their own, but Liars is possibly one of the best live performances I have seen. They played at In The Venue in the summer of 2006 with The Apes and absolutely burnt the house down…of course, when they’re headlining it was about 1/3rd the price - Recommended none-the-less.





Tonight (10/15), The Barn at Thanksgiving Point will be housing that guy who was a part of The Smiths a long time ago, you know, Morrissey or something?



Wednesday (10/17), Laura Gibson of Hush Records will be laying down her enchanting folk along side Johanna Kunin, Musee Mecanique and Band of Annuals at Kilby Court.

Laura Gibson's Website

Friday (10/19), Phosphorescent will be playing Kilby Court in who knows what configuration. Sometimes dragging along a full band, sometimes trudging through solo, always bringing his drifting outsider folk to glorious life; this show is my live pick for the week.

Saturday (10/20). Pinback is playing The Depot. I’m not sure what else to say about that. Not in a funny way either; I like some of there stuff muchly.



The remainder of this list is subject to possible error (as always). Let us know if you see a mistake or if you would like us to add something to the list.

10/22 – Aesop Rock, Black Moth Super Rainbow – In the Venue
10/24 – Caribou, Born Ruffians – Urban Lounge
10/26 – Busdriver, Daedelus – In the Venue
10/26 – Tiger Army – In the Venue
10/27 – Architecture In Helsinki, Glass Candy - In the Venue
10/27 – Menomena! – Kilby Court
10/21 – Little Brother, Evidence – Big Deluxe Tattoos
11/2 – Regina Spektor – In the Venue
11/3 – Velella Velella – Kilby Court
11/4 – Cryptacize (ex Deerhoof) – Kilby Court
11/4 – The Ponys, Chin Up Chin Up – Urban Lounge
11/7 – Ghostface, Rakim, Brother Ali – Harry O's
11/7 – Do Make Say Think, Apostle of Hustle – Urban Lounge
11/9 – De La Soul – The 23rd Floor
11/13 – The Velvet Teen – Kilby Court
11/13 - Charalambides, Alasdair Roberts - The Urban Lounge
11/15-18 – “High School Musical” on Ice Tour – Energy Solutions Arena
11/16 – Celebration – Kilby Court
11/16 – Of Montreal, Grand Buffet – In the Venue
11/16 – Fog, Old Time Relijun, Vile Blue Shades, The Soundtrack Scene – Urban Lounge
12/4 – David Bazan (aka Pedro the Lion) – In The Venue
12/7 – Iron and Wine – Salt Air

Band of Horses - Cease to Begin

Guest Review
Band of Horses
Cease to Begin
(10.2007, SubPop)
5.5/10

I’m not going to lie. When I first heard about Band of Horses selling out and selling a song to Wal-Mart for an online ad campaign, I was sort of rooting for their upcoming album to bomb. But as the release date grew nearer and nearer, something deep inside was really rooting for them. I would think back to seeing them live, once unknown, opening for a slightly larger unknown band in a small bar. There was something that really wanted the magic of Everything All The Time back – I was really hoping for it. For Cease to Begin, Band of Horses packed up and moved shop to South Carolina. The southern influence is evident. I can say this because I once lived in the south, and as I sit here listening to Cease to Begin I can practically see the beds of shiny pickup trucks filled with frat boys and popped collars tailgating at a Georgia football game. This album is in a word, boring. In two words?, “Dad Rock”. Band of Horses is quite obviously reaching for a mainstream crowd here. The plain and obnoxiously repetitive songs are designed for those gripping moments in an episode of Friday Night Lights or One Tree Hill. The album opener, "Is There A Ghost," starts with a slow build up. They intend to carefully lead us in, to get us excited for the “rocking” that is about to hit. But the result is simply predictable, and ultimately uninteresting. The rest of the album follows suit, each song proving to be more dull than the last. "The General Specific," a country twanged anthem for the south, is the best song Band of Horses offers us, but by the time track 5 rolls around (halfway through the album) it is too late for redemption and the mediocrity of the song is all that truly stands out. Turns out, there is no magic on Cease to Begin. It is unfortunate for many reasons, but now I think mostly unfortunate that it wasn’t released in time for Father’s Day 2007. I guess I’ll buy my copy now and hold onto for Dear Old Dad next year.

-The Dung Beatles

Band of Horses - "Is There a Ghost"

Lucky Soul - The Great Unwanted

Lucky Soul
The Great Unwanted
(05.2007, Ruffa Lane)
7.5/10

Even with a penchant for experimental, dissonant and sometimes harsh musical mediums, occasional dips into some sugary, retro girl pop is a laughable but honest oasis from the strain and exhaustion of those other musical forms. Lucky Soul is one of those. I often use the word pop as a descriptor, so often that I have rendered it almost useless, however, The Great Unwanted is pop in the most unabashedly classical way. Taking clear influence from the similar music that paraded through the 60's, Lucky Soul embodies big eye lashes and polka dot dresses. It is pretty hilarious writing these bunny rabbit descriptors, but such is the nuanced charm. The Great Unwanted is a novelty record that somehow broke its way into indie circles. It is the kind of record that mocks indie pretentions by breaking hipsters into submission to its straight forward hooks that almost scream 'cute'. I don't know what it is but there must be some invisible edge that makes these tunes so much greater then the equation that created them. It's the perfect record to invigorate moody car passengers into losing their inhibitions and partying to the gentle restraint of their seatbelts. I think in the end, the albums real seller is its ability to make you smile. First you smirk at the idea that you are actually listening to music like this, then the smile widens sarcastically as you let loose (for the sake of humor, of course) and mockingly bob your head as if you are enjoying – then, suddenly and without warning you realize that your smile is no longer sarcastic but genuine and all of the sudden you are the one that has to explain why it is ok that you are smiling. And it is: it's ok.

-Mr. Thistle

Miki Odagiri - Fables

Miki Odagiri
Fables EP
(08.2007, Creation Centre)
8.5/10

Releasing a veritable kaleidoscope of beautiful pop in 3 songs, Miki Odagiri's Fables is the best release from Creation Centre yet. An unassuming ramshackle of toy pianos, bells, glitch electronics and violin, with the brief appearance of Odagiri’s charming Japanese vocals; Fables is a humble beauty to behold. The opener, "Vapouring Rooms Right/Left" is jumbled, soft mix of elating melodies strung together like parade of leaves marching at the hands of some mystic wood sprites. The feel is similar to the meek glory of Shugo Tokumaru's debut. "Floweless Islands" hears Odargiri spout tiny lyrical poetry over a similar array of bright nooks and crannies filled with fuzzy dust and a quaint click and rumble of a beat. The conclusionary instrumental, "Hoarse Wind," wanders into some more mystical territory with an underwater keyboard line slashed with chimes, sparse clatter and an eventual brass and strings duet. There is absolutely no plausible excuse not to download this immediately.

-Mr. Thistle

Miki Odagiri – Fables EP (download as a zip file)

Kammerflimmer Kollektief - Jinx

Kammerflimmer Kollektief
Jinx
(06.2007, Staubgold)
6.5/10.0

Kammerflimmer Kollektief is odd. The cover art for the bands latest release on Staubgold should be enough to cement that into your mind. Odd and, like their cover art, kind of freaky. Additionally, for an American audience, the alliterative, virtually unpronounceable multisyllabic German name just creates problems. It becomes difficult to truly recognize whether this weirdness is just some cultural barrier or if Kammerflimmer Kollektief are just that messed up. Holding tight the experimental krautrock roots that their homeland inspired, Kammerflimmer Kollektief is leaning on ten years of productivity for their latest: Jinx. Employing a list of standard and electronic instruments, Jinx is a series of contorted freak-outs that, unfortunately, are more freaky than cool. When vocals enter the picture they act as an instrument gone haywire as a possessed witchy jabberwocky spit all over the instrumental bleating. The vocals aren't undecipherable because they're German, it's undecipherable because it's nonsensical and alienating. Perhaps this is the point, but I fail to see the purpose or gratification that can be extracted from it (and I am going to claim that I can find gratifying moments in pretty batty nonsense – check the back logged reviews). Spanning eight tracks, Jinx does reach some enjoyable areas. "Live At The Cactus Tree Motel" gives relief from the fright fest of the opening two tracks offering a lilting other-worldly calm with a piano laden backbone. "Gammer, Zen & Hoe Berge” gives a quick burst of palatable energy with distorted strings that seem to fray as their sawed. Ultimately, Jinx is disappointing and occasionally upsetting, but there is an odd witchery that won't let you dismiss it all at once. Just consider this your warning – there is something not quite right here.

-Mr. Thistle

Listen to songs on their website.

The Fiery Furnaces - Widow City

Fiery Furnaces
Widow City
(10.2007, Thrill Jockey)
8.5/10

The only Furnaces record I haven't heard is the grandma one (Rehearsing My Choir) and according to the record, I am all the better off for it. I was actually really interested in the album, even with the bad reviews, but just never got around to it. I know some people who won't listen to The Fiery Furnaces anymore just because of it. The idea never bothered me much because I was never really into their first two records. In truth, I just started warming up to the Friedbergers on last year's Bitter Tea, a wonderfully schizophrenic pop maze with heavy electronic flourishes. For all their previous chameleonisms, Widow City is a less than jarring progression from Bitter Tea. The Furnaces have retained the standard mega bizarre lyrical monotone of Eleanor Friedberger and mid-song musical U turns ala Matthew Friedberger. The real difference here can be characterized by the inspiring air guitar provided by a drunken homeless man in attendance of this summer's Twilight Concert Series where the Furnaces played along side Yo La Tengo. First of all, for anyone who saw him, that guy had some genuine rock star moves. Second, he was absolutely right to bust out the old invisible guitar because the Furnaces have turned up the rock n' roll on Widow City to ten. With busty riffage on tracks like "Navy Nurse" and "Clear Signal From Cairo," The Fiery Furnaces have laid down some serious head bobbing tunes. Widow City is the quintessential Fiery Furnaces release – the Friedbergers have cut down the fat that has accompanied all their previous releases and produced an album of concise Willy Wonka pop: loaded with sugar and visiting the most oddly enchanting rooms of candy production ever imaged…except, like, a musical version of that. For all the skeptics, Widow City is the album that will make it ok for you like The Fiery Furnaces again.

-Mr. Thistle

The Fiery Furnaces - "Japanese Sleepers"

Chaz Prymek - Everything is Wrong, Everything is Fine

LOCAL REVIEW

Chaz Prymek
Everything Is Wrong, Everything Is Fine
(08.2007, Self Released)
7.5/10

As Salt Lake City's resident fret torturer, Chaz Prymek's debut solo release does little tormenting. Everything Is Wrong, Everything is Fine is strict acoustic guitar affair with little use of further furnishing. Prymek's acoustics are reminiscent of Nick Zammuto from The Books with a bit more flare, seeing as how the pieces sustain themselves without the former reference's samples and cello. The album opener, "Sammis Porh" drifts pleasantly with a light brass accompaniment into what turns out to be a mostly delicate affair. Spanning eight tracks and just over a half hour of music, Prymek's debut is just the dosage necessary to induce a shady nap. Chaz seems to hit every step perfectly, but with slight caution, rarely experimenting with possibilities outside the form of the first track. While this creates a consistent ride it also fails to be completely memorable, more often then not soundtracking the background rather than becoming a bold singular statement. The talent is undeniable but the creativity is the waning point. However, the talent is so formidable here that creativity would be almost unnecessary…almost. Everything Is Wrong, Everything Is Fine is still a powerful starting point and is certainly recommended.

-Mr. Thistle

Chaz Prymek on Myspace

Beirut - The Flying Club Cup

Beirut
The Flying Club Cup
(10.2007/Ba Da Bing!)
10.0/10

Just when you thought he couldn't get any more "multi-instrumentalist" on you, the now 21 year old, Zach Condon graced us with his second gorgeous release of the year, full to the brim with new instruments and layers. The Flying Club Cup lacks the immediate hits of Gulag Orkestar, such as "Postcards From Italy," but overall is a much more balanced and intriguing album. Zach finally moved overseas and now lives in Paris, so most critics are claiming that his music has evolved from Balkan folk to French, but I don't really see that. If anything, it feels more Irish to me. The Flying Club Cup has the highest production value of any release of his yet. It was recorded in Arcade Fire's now famous Masonic church studio. Members from A Hawk And A Hacksaw helped again, as well as Man Man, in order to make some of the most passionate and resonating songs I have heard all year. Beirut's style has seen a definite although slight change on this album. Upon first listen I enjoyed it, but wasn't fully convinced that this new Beirut could compare with one of last years best releases. After getting thoroughly addicted to it for the last few weeks and listening to nothing but, I think this may very well be the best album of the year. It's gorgeous vocal melodies get entwined in your brain and you have to keep listening the album on repeat. I am absolutely in love with this album.

-Sassigrass

La Blogotheque filmed every single song from The Flying Club Cup being played live. They are gorgeous. WATCH THEM ALL - CLICK HERE!!! ...or just watch the one below.

Shows This Week

Tonight (10/8), Magik Markers will bring their signature crazed ridiculousness to Salt Lake City which must be seen to be believed. Staged at the Urban Lounge, everyone should be able to get drunk enough to feel at home with the Markers.

Magik Markers on Myspace

Thursday (10/11), “don’t call me emo” hip hopper Atmosphere will be selling out In The Venue. Essential show for hip hop heads.



Saturday (10/13), fresh off their Provo show on Friday, John Vanderslice and Bishop Allen will provide a double header for the attendees of Kilby Court.



Sunday (10/14), Slowtrain reels in a cast of pretty awesome bands for an instore starting at 4PM. French Quarters, Foot Ox and Alas Alak Alaska will be filling the bill; donations for the band requested.

Foot Ox on Myspace
Alas Alak Alaska on Myspace

Sunday (10/14), after finishing up at Slowtrain head on over to Kilby Court again White Rabbits and see what all the fuss is about.

Blues Control - Self Titled

Blues Control
Blues Control
(05.2007, Holy Mountain)
8.5/10.0

By the sounds of things "blues control" is the antithesis of what this band has. As skuzz-fuzz, skronk chameleons, any inherent blues the band has seems to be seeping out of the sides. This, I think, is how the band intends it: muddy, contorted sonic soundscapes wrestling with the idea of blues. The duo, featuring Lea Cho on keys and Russ Waterhouse on strings, seem well traveled by including a wide array of world music influences. The music has a serious gipsy or Jamaican vibe to it: I can't quite pin it down as one or the other. The combined circus of fractured blues and inner city Caribbean A.D.D. can also sound unexpectedly robotic. I know this all sounds like some bizarre contradiction of terms. How about you listen to this thing and try and tell me what it is? All I know is that this is a mess and a glorious one at that. Blistering with robotic heart, reggae fever and flame-scorched southern blues; Blues Control seems to be operating under some kind of island zombie-ism that perpetuates their distorted attack like a mindless lust for the taste of human skin. A gorgeous nightmare, Blues Control's self titled, Holy Mountain debut is not to be missed.

-Mr. Thistle

Blues Control – "Blues Control excerpt"

Voice of the Seven Woods - Self Titled

Voice of the Seven Woods
Voice of the Seven Woods
(08.2007, Twisted Nerve)
8.0/10

Voice of the Seven Woods is the alias of English guitar maestro Rick Tomlinson. This self titled debut release has been a long time coming as Voice of the Seven Woods has seen its named tagged on a seemingly endless array of limited edition CDrs and 7” vinyl releases to this point. Tomlinson’s guitar skills are on par with contemporary fret bogglers such as Sir Richard Bishop or James Blackshaw, yet on his debut Tomlinson has side stepped the standard acoustic noodlings of the genre and created a multifaceted tapestry of grooves and techniques that seem to travel a world of cultural influences with a healthy dose of psychedelia. Tomlinson has a knack for carrying his pieces only as far as they need to go, never overstaying his welcome with endless ruminations on the same idea. This ability almost comes as a necessity seeing as how many wonderful ideas are bursting out of this album. Tomlinson even lends his voice, successfully, to couple of songs like the majestic “Silver Morning Branches” and album closer “Dusk Cloud.” Voice of the Seven Woods is a classic in a genre that is often more tiring than it is rewarding. It’s an enchanting debut that will extend far beyond the stoned pretenses of its bohemian trappings.

-Mr. Thistle

Voice of the Seven Woods - "The Fire In My Head"

Angels of Light - We Are Him

Angels of Light
We Are Him
(08.2007, Young God)
9.0/10

On Michael Gira's fifth release as Angels of Light the apocalypse is still imminent. The former Swans front man hardened voice breathes devastating gothic Americana to continued success with We Are Him. Maintaining his Akron/Family backing band that he acquired with as a result of their 2005 split album, Gira has focused the bands primal energy, seemingly capturing their true essence and molding it to his sinister purposes. We Are Him contains some of the Angels of Light projects most rollicking songs to date with perpetual scorchers like "Black River Song" and the title track, "We Are Him". Gira drives his Angels in a similar style to past releases, thriving on repetitive apocalyptic verses that rarely breaks into a chorus. The form of his songs seems to squirm uncomfortably because of their unfamiliar structure; however, repeated listens reveal that this is really the only structure that suits Angels of Light as the repetition and mid-song U turns empower Gira's dark sermons. We Are Him might not contain any drastic changes from past Angels of Light releases yet Gira seems to be continually picking up speed with each successive release, building an increasingly powerful set of songs set at the dawn of Judgment Day. We Are Him is a complex, repeatedly rewarding album that may be the best Angels of Light release to date; a must hear for 2007

-Mr Thistle

Angels of Light - "We Are Him"

Max Richter - The Blue Notebooks

Retrospective Review

Max Richter
The Blue Notebooks
(05.2004, Fat Cat)
10.0/10

Max Richter classifies his solo work as "post-classical," a word at which many people cringe, including myself in most instances. With so much cheesy forced emotion and boring drawn out contorted Bach out there it's difficult to sort through and really find the artists that are creating a new breed of classical that is actually listenable. The Blue Notebooks is more than just listenable, it's heartbreakingly incredible. It puts most striving modern day composers to shame. It's even puts quite a few old masters to shame. This album is a masterpiece. Inspired by Philip Glass and Kafka's Blue Octavo Notebooks, Richter built his own analog instruments, paired them with classical string instruments and made one of the most stunning and affecting albums ever recorded. The delicate melancholy songs were used to soundtrack one of my favorites movies of 2006, Stranger Than Fiction. The soundtrack made the movie. The Blue Notebooks is absolutely gorgeous and I would recommend it to anyone regardless of whether than enjoyed classical compositions or not.

-Sassigrass

Max Richter - "The Trees"

Magik Markers - Boss

Magik Markers
Boss
(09.2007, Ecstatic Peace)
7.5/10

Magik Markers are really a terrible band and I mean that in the best possible way. They play horribly and, up to this point in their career, have subsisted mostly on skuzz induced CD-R releases where the music seemed practically duct taped together. Yet, somehow amongst this anti-praise the Markers have maintained charm for their reckless punk abandon and the urgency of their insanely insane live shows (for evidence visit the Urban Lounge on Monday, October 8th for possibly the best worst or the worst worst rock show you have ever seen). Boss is Magik Markers' second release on Thurston Moore's Ecstatic Peace label and is actually, ahem, accessible? Take that term for what it is worth because Magik Markers still suck pretty terribly, but their new Sonic Youth worshiping rock splatter actually takes form; even if the instruments they are playing sound like they are going to fall apart at any second. The real shocker here is the two tracks for which the band slows down and strips down for their first ballads. The piano laced "Empty Bottle" and acoustic guitar backing for "Bad Dream/Hartford's Beat Suite" break the Markers into an unexpectedly beautiful territory that is an effortless success. On Boss, Magik Markers take standard rock conventions and still manage to make a volatile, freewheeling mess of it. This is a staggering endorsement for the best worst band you'll ever hear.

-Mr Thistle

Magik Markers - "Bad Dream"

White Rabbits - Fort Nightly

Guest Review
White Rabbits
Fort Nightly
(05.2007, Say Hey)
7.5/10

On a spectrum of bands with which I am familiar, I would place the White Rabbits somewhere between Menomena and Tapes ‘n Tapes, though their album Fort Nightly isn’t quite as imaginative or engaging as my contrived reference points’ most recent efforts. It’s always dangerous to make such proclamations of association, but I often find it necessary in order to come to a full realization of any albums merits. In a vacuum, all music as art is necessarily flawless, however, music is never consumed in a vacuum. It can’t be disconnected from mood of the listener, personal preference, or association. As a result, my valuation of this album seems, even to me, to be somewhat deflated. But that isn’t to say it should be.
Associations aside, Fort Nightly is a very catchy indie rock record. The rhythm of the record owes much to island or Congo music, and I often visualized an island girl in a grass skirt dancing somewhere on stage with maracas, just to ensure the authenticity of the groove. However, this tag may be a little misleading because Fort Nightly is not really island music. The melodies are endearing, if a little long winded. Each song seems to overstay its welcome just slightly, beginning with promise, but lacking a dynamic punch and finish that would complete the effect.The most redeeming quality of the album is the way the White Rabbits effectively combine the island grooves, indie guitar, piano, and melodramatic lyrics into a cohesive package. All in all it is a very enjoyable album, and worthy of repeated listens. Especially a live listen at Kilby Court in a couple of weeks, where the band is sure to do more than please even those unfamiliar with their music.

-Spruce Lee

White Rabbits - "The Plot"

Shows

It is all happening Saturday this week…

First and foremost – (10/6) Saturday, DEEEEEEEEEEERRRRHHHHOOOOOOOOOOOOOOOOOOOOOOFFFFFFFFFF will be signing autographs and being generally appeasing indie rock gods and goddesses at In The Venue. There is absolutely no reason you should miss this show*; break out of prison, forget about your emergency medical treatment – let me reiterate: DDEEEEEEEEEERRRRRRHHHHOOOOOOOOOOOOOFFFFOFFOFOFOFOF is playing at In The Venue on Saturday.

*Now, with that said, Slowtrain has booked the only imaginable show that could possibly make me feel bad for choosing to go to Deerhoof! instead. For their upcoming Local Night Slowtrain has brought together the best grouping of SLC bands I've ever wanted to see. (10/6) Saturday, starting at 7PM, Slowtrain will host the deliriously wonderful blues punk of Pink Lightnin', Mathematics Etc., the glorious noise rock onslaught of Blackhole - and if that wasn’t enough – Forest Gospel's hands down favourite (local or not) live performer and new musician, Aye Aye, will be playing his unique brand of experimental blues. Trust when we say that this show is for every single soul who doesn’t make it to Deerhoof! Oh, and its free - so poor people can attend as well.

Upcoming Shows:
10/8 – Magik Markers – Urban Lounge
10/8 – The Twilight Sad – Kilby Court
10/11 – Atmosphere – In The Venue
10/13 – John Vanderslice, Bishop Allen - Kilby Court
10/14 – French Quarters, Foot Ox, Alas Alak Alaska (4pm) - Slowtrain
10/14 – White Rabbits – Kilby Court
10/15 – Interpol, Liars – McKay Events Center
10/15 – Morrissey – Thanksgiving Point
10/17 – Laura Gigson, Johanna Kunin, Musee Mecanique, Band of Annuals – Kilby C.
10/19 – Phosphorescent – Kilby Court
10/20 – Pinback – The Depot
10/22 – Aesop Rock, Black Moth Super Rainbow – In the Venue
10/24 – Caribou, Born Ruffians – Urban Lounge
10/26 – Busdriver, Daedelus – In the Venue
10/26 – Tiger Army – In the Venue
10/27 – Architecture In Helsinki, Glass Candy - In the Venue
10/27 – Menomena! – Kilby Court
10/21 – Little Brother, Evidence – Big Deluxe Tattoos
11/2 – Regina Spektor – In the Venue
11/3 – Velella Velella – Kilby Court
10/4 – Cryptacize (ex Deerhoof) – Kilby Court
11/4 – The Ponys, Chin Up Chin Up – Urban Lounge
11/7 – Ghostface, Rakim, Brother Ali – Harry O's
11/7 – Do Make Say Think, Apostle of Hustle – Urban Lounge
11/9 – De La Soul – The 23rd Floor
11/13 – The Velvet Teen – Kilby Court
11/15-18 – "High School Musical" on Ice Tour – Energy Solutions Arena
11/16 – Celebration – Kilby Court
11/16 – Of Montreal, Grand Buffet – In the Venue
11/16 – Fog – Urban Lounge
12/4 – Pedro the Lion – Kilby Court
12/7 – Iron and Wine – Salt Air

Goodies - New Radiohead

And just as 2007 couldn't possibly appear to be a better year for music, RADIOHEAD snuck an album underneath all our noses and are releasing it next week (10/10). Read THIS article and cry yourself to sleep (make dure to thank the rock gods in your prayers prior to your tear filled slumber).

http://www.pitchforkmedia.com/article/news/46015-new-radiohead-album-aaaaaaahhh

Sunset Rubdown - Random Spirit Lover

Sunset Rubdown
Random Spirit Lover
(10.2007, Jagjaguwar)
10.0/10.0

"This album would rather fight you than make friends with you." These are the sentiments of a faceless contributor to a forum topic about Sunset Rubdown’s Random Spirit Lover. It’s true. My first attempts at understanding the album were answered with a mess of cluttered confusion. Random Spirit Lover is a heap of snarled indie-prog-carnival-rock that is epic in scope. If you have purchased this album prepare for an angelic tussle. Following quickly behind the formidable prestige of last year's Shut Up I Am Dreaming, Sunset Rubdown master mind, Spencer Krug (ala Wolf Parade, Swan Lake, Frog Eyes), has shattered even his high expectations. Krug acts as if bleeding out the last semblance of sanity while trying control this: his magnum opus, belting his lyrical maze like a maddened preacher. Parading like a herd of wooly mammoth, Random Spirit Lover sprints wildly down a tangled mountainside; simultaneously gaining speed and losing control. Krug seems to contain this chaos by offering clips of the destructive domino effect in slow motion, emphasizing the beautiful intricacies of its individually churning parts before letting it loose again. On a slight side note - Krug pines some interesting theatrical territory here with tracks like "The Courtesan Has Sung" harkening Danny Elfman’s Edward Scissorhands score and "Colt Stand Up, Grow Horns" reminiscent of The Labyrinth (you know...the one with David Bowie). Manically urgent in its delivery and perpetually deranged in its arrangements, Sunset Rubdown still manages to qualify for the term pop. Perhaps that is too simplified; maybe "mad pop genius"? Yeah, that's a little better. Sunset Rubdown reaches the type heights that we wait for all year; providing revelations that are not only exciting in the newness of their discovery but surprising on their increasing depth with repeated listens. It is one of those records that are inspiring of what music can be. And as a qualifier, I don’t even consider most of the things I wrote as hyperbole. Essential! (This comes out on October 9th but you can pre-order your own copy today and get a free download so that you can listen to this beauty for the rest of the week.)

-Mr. Thistle

Sunset Rubdown - "Up on Your Leopard, Upon the End of Your Feral Days"