Giuseppe Ielasi - Aix

Giuseppe Ielasi
Aix
(01.2009, 12k)
RIYL = clicks, Keith Fullerton Whitman, Shuta Hasunuma, the sound of a drippy faucet

Sassigrass recently notified me (quite rightly) that my reviews are starting to get a little repetitive, filled with lots of definitive statements, “best of” comments and general hyperbole. It is really the mark of writers block. And, to be fair, writing music critiques can become a little monotonous. It is hard not to fall into the same old traps over and over again and reference the same musical lineage time and time again. Fortunately, as I work on transitioning to more meaningful, creative reviews, I have this little gem by Giueseppe Ielasi that is pretty much a compositional study on repetition and how to use it to deftly expand a space to its perfect size. On Aix, Ielasi has transitioned from his previous (and lovely I might add) drone work to a more mechanical, rhythmic style. The sound is similar in a lot of ways to the architecture displayed on the cover of the album. Various rhythmic pulses of synthetic and acoustic varieties are set off like metronomes pulsing within one another to build a structure. Within the structure, rather than making space for furnishings or clutter, there is a relatively spare space, like an empty room. It is within this room that Ielasi performs his subtle magic. As he evolves these little micro-structures created within each track, minute variances in the pulse of the songs fill each room with colour. And I am not talking your basic elementary color wheel, something about the way in which Ielasi has composed these tiny trinkets of sound evokes the most inviting hues which, again, fit quite nicely with that cover photo. All and all, it is a wonderful evolution. Listening to these tiny tracks tinker along, growing and evolving I can’t help but think of the Doozers from Fraggle Rock. You know, those single-minded little puppet architects who build the wonderfully Fragglisish towers? I can’t help but think that this is the type of music that keeps them chugging along – building, building, building to their limitless satisfaction. There is something funny about comparing the relatively intellectual constructions of Ielasi to the creations of Jim Henson, but somehow it works out in my head. Delicious work.

-Lil' Thistle

Giuseppe Ielasi - "09"

Zu - Carboniferous

Zu
Carboniferous
(02.2009, Ipecac)
RIYL: awesome

Zu is epic. They have collaborated with everyone you know, played over 1,000 shows all over the world, and just released their 14th album to glorious applause. The world of critical review mostly refers to them as avante jazz, though I have also seen them labeled as math rock, metal, punk, free noise, and just about any other descriptor, but I just label them as the tightest mess you have ever heard. Seriously, go get this album right now and let your brain just explode inside of your skull. This time around Zu teamed up with the ever collaborating Ipecac label owner, Mike Patton, and The Melvin's King Buzzo. Personally I like Zu instrumental style and think that Patton's eerie vocals are the only downfall of Carboniferous. The instrumentation is as brutal and as epic as music can be. Seriously, these Italians are doing it right! That's all I have to say, go directly home and annihilate your eardrums with Carboniferous. Just keep your arms inside the ride at all times and when your parents come screaming and knocking down your door don't tell them that I told you to buy it.

-Sassigrass

Beirut - March of The Zapotec and Realpeople Holland

Beirut
March of The Zapotec
Realpeople
Holland
(02.2009, Pompeii Records)
RIYL: Pinatas or Rainbow Bright


I first listened to the new Zach Condon releases without knowing any back story as to why there were two separate EP's released together and sounding so completely different. The first half of the release, Beirut's March of The Zapotec encompasses Condon's glorious world music brass laden half of his personality while Realpeople's, Holland represents his looping electronic side. I enjoyed both, but was slightly confused by the mash difference. So I did my homework and uncovered the glorious story of Condon wanting to record with an authentic Mexican band, finding one such random band in Teotitlan del Valle, Mexico called the Jimenez Band. The 19 members in the Jimenez band spoke only Zapotec so Condon worked through a translator to write the six crazy songs. On first listen I proclaimed them sloppy and accused them of sounding like a fiesta (in a good way) and making me want to hit a pinata without knowing this information. I told Mr. Thistle how it sounded like listening to the bands play in Mexican cities I have been in. I was right! I'm so good. Several short films showing the recording process in Mexico are due to come out online in the near future. Anyways, Holland on the other hand is released under Condon's original bedroom recording moniker, Realpeople. Holland is a joyous release that will make you want to invite your friends over, wear a side ponytail and dance the night away, in a chill manner, particularly the last cheery track, "No Dice." Overall it's a very enjoyable release showcasing all of Zach's many efforts in music from 2008. It's less romantic and swooning than previous releases, (and I love Beirut's romance) but a whole lot more fun.

-Sassigrass

Natural Snow Buildings - Night Coercion Into The Company of Witches

Natural Snow Buildings
Night Coercion Into the Company of Witches
(2008, no label)
RIYL = Axolotl, Double Leopards, Mouthus

It is odd, but pretty safe to say that you don’t have this album and that you never will. A triple disc aural monstrosity, Night Coercion Into the Company of Witches (will be referred to as Night Coercion from here on out) was self released last year as an edition of 22 hand painted copies. It is absolutely insane to me that Natural Snow Buildings would put so much effort to create such a grandiose musical mega-behemoth only to limit its physical remnants to the seemingly irrelevant total of 22 copies. Just for the record, I also do not own a copy of Night Coercion. I pirated the thing and you should too. It is simply too amazing to be limited to those physical copies. Many of you may not be familiar with Natural Snow Buildings. I myself am no real expert on the band, but the proportions of their releases coupled with the unbending standard of their sound is simply beyond epic. Add to that an innumerable, sometimes untraceable discography and you got yourself the foundations of a myth my friend. Yet, somehow, the mysterious band lives up to, if not exceeds, the mythic swirl that surrounds them. Natural Snow Buildings are simply the purest form of DIY artistry in music that I have ever seen. I just could go on saying ‘wow’ all day. But what’s the point? Well, if you can manage to forget everything that surrounds the actual music, Night Coercion is probably one of the best drone based albums on the planet. Ha, that sounds so dramatic. And I’m not positive it is true, but it is definitely good enough to have me considering such a statement. The music here is dense. Thick layers of audio forestry that give one the sense of being lost in an enchanted jungle. The movement of the album’s compositional shifts are slow - like, Disintegration Loops slow - but Natural Snow Buildings pull it off as well as Basinski, it’s just where Basinski’s works were decaying, Natural Snow Buildings’ work seems to be growing ever so slowly out of control. Night Coercion stretches two and one half hours in running time and yet manages to stay completely engrossing from the beginning of first CD to the end of the third. I don’t know how it’s done, but Natural Snow Buildings definitely have enchantment on their side. Utterly astounding stuff.

-Mr. Thistle

White Denim - Workout Holiday

White Denim
Workout Holiday
(2008, Full Time Hobby)
RIYL = Tiger Bear Wolf, Women, rock n’ roll

Let's not beat around the bush. White Denim is probably one of the most overly hyped yet still underrated bands in indie rock. I don’t get it. Why is there not more people jumping on the bandwagon? Is it because their hometown blog, GorillaVsBear, seems a little too intent on proclaiming the band’s genius to the world? I always thought there must be some kind of pay relationship going on there, but then I buckled down and finally listened to Workout Holiday (one of two full length albums released last year that basically equate to the same thing, give or take a couple songs) and promptly acknowledged that these guys are the real deal. My interest was actually peaked last year after seeing the band open for the yawn-worthy Tapes n’ Tapes. The energy these guys brought to the show was absolutely awesome and more than made up for the lack thereof from the headliners. Workout Holiday carries that same live energy into the studio/garage/bedroom. The album is simply bursting sweaty grit-filled enthusiasm that is inescapable. It’s simply consuming. Before you know you’re neck will be sore from all the head bobbing, your arms sore from air guitaring and your legs will be sore from dancing to this manic concoction. Really, White Denim deserves to be uttered in the same breath as indie rock luminaries like Wolf Parade, Arcade Fire and TV on the Radio; they’re of that class. The more I listen to this the more I am addicted. Every instrument is strong here: thick, fuzzy bass lines, intertwining guitars lines and riffs, inventive drumming; its just great rock. Soulful in parts, bluesy, yet filled with a snicker and a snarl to induce emphatic, spastic Rock Bandisms (seriously, what’s the point of playing rock band if not to act like a total idiot?). All and all, White Denim have set themselves up for success. There is no way these guys can stay subterranean for long; in fact, it’s only a matter of how long it takes them to record a follow up to Workout Holiday.

-Mr. Thistle

2008 Round Up Pt. 4

More worthy releases from last year that we missed.

Mary Halvorson/Jessica Pavone/Devin Hoff/Ches Smith
Calling All Portraits
(2008, Skykap)

Calling All Portraits is worthy of much more than I am able to say in this little space. In fact, the album is probably the instigator to the writers block I’ve had for the past couple weeks. Consisting of a veritable who’s who of the Brooklyn improve/free jazz scene, Calling All Portraits is a nimble, engaging whirlwind of a record that could only come from talent such as this. The instrumentation is as follows: Halvorson on guitar, Pavone on viola (I think), Hoff on bass and Smith on drums. Each band member takes turns leading the rest of the crew for thick ride that is equal parts composed and improvised, dealing in both free jazz and chamber classical, and all without any of fatty, unlistenable chunks that usually accompany such music. A real tour de force and probably my favourite jazz album of last year.

Murcof
The Versailles Sessions
(12.2008, Leaf)

Culled from compositions prepared specifically for a festival in Versailles in 2007, Murcof makes a bit of a departure from his patented electronics with six tracks composed solely with 17th century baroque instruments. Pitched as unique project to be consumed in-between ‘proper’ releases, The Versailles Sessions certainly holds its own as another monument to Murcof’s eclectic, powerful musicianship. Dark and brooding with a sense of an ancient world twisted into the present, The Versailles Sessions morph with a fluid ease that can only be attributed to inspiration. A beautifully dynamic disc with surprising replay value.

Arve Henriksen
Cartography
(10.2008, ECM Records)

Rune Grammofon mainstay and Supersilent co-founder, has wandered from his home label for his fourth solo release with ECM. I don’t have any background on the label change, but it doesn’t really seem to matter since the already highly esteemed Norwegian trumpeter has created such a devastatingly gorgeous release with Cartography. Extremely measured and soulful with the kind of soul that seem to only be available to the trumpet, Henriksen builds on the shoulders of his prior work with heartbreaking trumpet lines that are often accompanied by vocal specters that float and intertwine with the instrumentation. Cartography is simply gorgeous and worthy of a much better equipped write up. Probably tied with Calling All Portraits as jazz album of 2008.

-Mr. Thistle

Bon Iver - Blood Bank

Bon Iver

Blood Bank EP

(01.2009, Jagjaguwar)

Verdict: An extension of For Emma

I can't think of many more beloved of 2008 than Justin Vernon, aka Bon Iver. For Emma Forever Ago left half of indiedom smitten and swooning, myself and Thistle included. It has been a while since his intial self-release-turned-label-released victory, and Thistle has since declared himself "over" Bon Iver, bored of his voice and drawling melodies. I, however have not turned my back, but I have lost a lot of the initial warm fuzzies. I still think For Emma is an incredible album, but that doesn't necessarily mean that I want to listen to it forever. I personally think artists should morph and grow from release to release, cause no one wants to listen to the same album over and over again. Blood Bank feels like sad extension to the heartbreak that was For Emma. Justin, you can't still be that heartbroken can you? I am being a little harsh considering it is only a four track EP, and I will admit it gave me quite a few enjoyable listens, but I am already ready to move on. That really isn't surprising considering Blood Bank's length, I'm just saying, don't get too excited all you Vernon worshippers. You will enjoy it, but it isn't as promising a release as you would hope it to be, and definitely just an EP.

-Sassigrass

Bon Iver - "Blood Bank"

Chihei Hatakeyama - Dedication

Chihei Hatakeyama
Dedication
(09.2008, Magic Book Records)
Verdict = Marvelous

Dedication is the second solo outing of Japanese soundsmith Chihei Hatakeyama and possibly one of the most beautifully magical releases I’ve heard…ever? It certainly makes a case for that type of a statement. Anyone who heard his debut album, Minima Moralia on Kranky, must have surely noticed the already incredible talent of Mr’ Hatakeyama. On that release Hatakeyama seemed to be subtly carving himself out a unique place in the widening spectrum of ambient sound. Utilizing spare acoustic guitar lines above lush, tonal drones, Hatakeyama’s sound might aptly be described as folk-ambient; sharing ground with equally wonderful artists like Sawako and Scott Tuma. While Minima Moralia set Hatakeyama apart, Dedication cements his status as an indispensible talent. This time around Hatakeyama ups the delicacy, smoothing out the bumps and polishing them. The warmth and fragility of Hatakeyama’s tones are pretty much happiness incarnate. That is actually a little too vague. “Happiness” means a lot of different things in a lot of different contexts. The gorgeousness of Hatakeyama’s work on Dedication is absolutely euphoric. There is a purity, unhindered by sadness or uncertainty, a guiltless contentedness that is interwoven in every nook and cranny of Dedication that sparkles with soft spoken wonderment. Hatakeyama’s guitar seems to flow organically with soothing wispy tones surrounding it. It plays out like a golden field lightly brushed by a breeze. Hatakeyama also reaches a career highpoint with the accompanying violin work by Masahiro Konayashi on “Illusion of Memory I.” The cloud like suspension of Dedication is punctuated by a granular shift on the final (and title) track, “Dedication.” Gathering grey clouds, the layered Fenneszian tones of the last track signal rain, but in no less beautiful a manner than in Dedication's consistently elated beginnings.

-Mr. Thistle

Chihei Hatakeyama on Myspace

2008 Round Up Pt. 3

Three more releases that require a closer look.

Thee Oh Sees
The Master’s Bedroom Is Worth Spending a Night In
(04.2008, Tomlab)

I blame this 2008 omission on Wooly Mammal. After listening to the record, his basic sentiment was ‘meh’ and you know what? I listen to way too much music to be bogged down by some meh-worthy album. However, I kept seeing the record lauded all over the place and finally decided that I needed to find out for myself and thank goodness I did. The Master’s Bedroom is a garage psych bliss fest! Awesome hooks underscored by a generally bombastic guitars the twist and warp like vibrant specter. Thee Oh Sees got weighed down a little too much by lo-fi tag; no, this is pure, adulterated rock music at its grimy best.


Love Is All
A Hundred Things Keep Me Up At Night
(11.2008, What’s Your Rupture?)

A perfect return to form after a three year hiatus, Love Is All delivers their second album filled with the same sugary Swedish charm that we fell for with their debut. It only took a couple plays before the anthemic, hook-heavy nature of A Hundred Things Keep Me Up At Night was vying for my soul (just like any good pop album). So, yeah, beware because there is a good chance that you won’t be able shake this album once you’ve heard it, AKA, the album provokes binge listening and will most likely end with a call to a local addiction hotline. Pure audio candy.


Sic Alps
U.S. Ez
(07.2008, Siltbreeze)

Sharing members with my adorably effed up lo-fi troupe of 2008, The Hospitals, Sic Alps produced an album that inhabited the lighter end of the Siltbreeze’s feedback-conscious community and turned out stronger for it. On U.S. Ez, Sic Alps must’ve busted out large portions the ceiling they were recording in because there’s plenty of sunshine shining through these tracks. Sure, there are some squealing amps and light fuzz that crops up here and there, but U.S. Ez is more interested in untainted song craft. That is the heart of the album – a collection of beautifully left-of-center pop songs to relax and sip lemonade to. It would be interesting to see if a more celebrated lo-fi band like Times New Viking would sound even close to this good if they stripped back their songs like this. Whether successful or not, there isn’t a chance it could be as good as U.S. Ez.

-Mr. Thistle

Angil + Hiddntracks - Oulipo Saliva

Angil + Hiddntracks
Oulipo Saliva
(11.2008, Chemikal Underground)
Verdict = A rare concept album that is as enjoyable as it is intelligent

You simply can’t talk about Oulipo Saliva without talking about the concept behind the album, so let me get that out of the way up front. ‘Oulipo’ is a French term that, according to Wikipedia, roughly translates to “workshop of potential literature.” The word was used by a group of writers and mathematicians who conducted constrained writing experiments in an effort to expand their understanding of and create new literary forms. In adopting this general aesthetic, Angil and instrumental group Hiddentracks have created an album entirely devoid of the letter E (rendering Hiddentracks, ‘Hiddntracks’). That means in addition to losing all lyrics containing the letter E there are no E chords. The weight of choosing the letter E is pretty hefty in and of itself since E turns out to be the most used letter in the English language, finding itself in over 12% of all English words. I was actually planning on writing this entire review E-less, but quickly abandoned the prospect after I could only get as far as a couple of sentences (note: I’ve already used 86 E’s in this review thus far). The wonderful part about Oulipo Saliva is that it isn’t just a great concept, it is a genuinely awesome album. I’ve seen quite a few reviews that have variously compared Angil’s vocals to Robert Wyatt and Why? leader Yoni Wolf. I think there is a bit of merit to either comparison, but I’m sure you can assume by the relative disparity between the two options that Angil voice inhabits its own unique poetic ground. Hiddntracks probably doesn’t assist in dispelling the previous comparisons either by providing a sort of avant-jazz/hip hop back drop that accentuates Angil’s delivery perfectly. If there is anything that I would stress with Oulipo Saliva it is repeat listens. My first impressions of the album were felt somewhat awkward - mostly because I didn’t know what I was getting myself into - but each repeat listen has brought a greater appreciation and greater satisfaction to the point that I have become certifiably obsessive. Oulipo Saliva has definitely emerged as one the most creatively satisfying albums I have heard in a long time.

-Mr. Thistle

Possessed by Paul James - Cold and Blind

Possessed by Paul James
Cold & Blind
(2008, Voodoo Rhythm)
File Under = Intensely soulful blues/folk

While the rest of us content ourselves on oxygen, Konrad Wert seems to be sustained by coals and lighter fluid because as Possessed by Paul James, Wert breathes flames. I don’t mean that as any kind of exaggeration either, it only takes a single spin of Cold and Blind to feel the heat bleeding through the speakers. Wert’s pseudonym suits him well. ‘Possessed’ is definitely adjective I’d use to describe Wert’s maniacal delivery, though who Paul James is, I’m not sure. According to Wikipedia Paul James could be anything from gardner to a sportscaster to (most likely) a Canadian blues guitarist. Cold and Blind is a deeply rooted blues album soaked in a heavy batch of nostalgia. Wert takes on guitar, banjo and violin all with the percussion at his feet and also all by his lonesome. However, where similarly multitasking musicians tend to slow up to juggle their instruments, Wert blazes forward like an obsessed demon, spitting and hollering all along the way. Often coming off as Tourettes patient, Wert’s spontaneous outbursts only serve to underscore the immediacy of Cold and Blue's songs which are often punctuated by the applause of a live audience. The record sounds like it was recorded on Skip James’ back porch, filled to the brim with the ghosts of past blues luminaries. Wert’s voice and guitar never fails to stretch the recordings to their limits, pushing and pulling against the equipment as if the sound intended to break free of the speakers its played on. It is really quite an experience. Amongst the knee slappin’ there is heavy dose of folk balladry that cuts you straight to the core. Possessed by Paul James is nothing if not emotive. A magical, transportative record; Cold and Blind feels like some ancient unearthed genius that’s aged in a way that makes it all the more vibrant and contemporary. I feel like I'm all over the place here but that is the nature of the record I guess - definitely a keeper.

-Mr. Thistle

Possessed by Paul James - "Loves Disease"

Tolchock Trio - Abalone Skeletone

Tolchock Trio
Abalone Skeletone
(2008, Exumbrella Records)
Verdict = In a perfect world, this record would have shown up on 2008 top ten lists across the country.

Lately I have had a major itch for guitars. Not just any guitars, mind you – electric guitars! My listening habits have been almost solely devote to some of my old indie rock favourites: Fugazi, Daydream Nation, Jawbox, Dismemberment Plan, Wowee Zowee, At the Drive-in: basically anything that would send me into spontaneous air-guitar riffage while perked in my swiveling office chair; anything “angular,” slightly atonal and undyingly catchy. During my little expedition I began to wonder if I had listened to anything lately that had that same type of deliciousness. Then on a whim I picked up Abalone Skeletone. For those who don’t live on the Wasatch Front this album holds no name recognition, but for anyone with even the slightest inclination towards homegrown Salt Lake City rock, Tolchock Trio is it. I didn’t used to believe that. In fact, I didn’t used to have any interest in this band whatsoever, but somehow, by some act of inspiration I decided to rethink my unfounded disinterest and offer Abalone Skeletone a fair chance. Tolchock Trio has been around for quite sometime. In fact, I think there was a time that they were an actual trio; however, the insert in Skeletone displays the picture of five apparent band members (so, it should be Tolchock “Quintet”?). Anywho, all trivialities aside, here is the verdict (er, second verdict): Abalone Skeletone is incredible. This is indie rock done right. This is that classic, timeless indie rock of old that I have been pining for weeks. I never imagined that it would pop up in my own sleepy backyard, but alas Tolchock Trio is the real deal. Tolchock Trio achieve more than the sum over their parts on this one, pushing guitars bass, drums and vocals from discordant beginnings addictively harmonious ends We don’t really do local favors around these parts and, to be honest, I don’t even have a clue who the members of Tolchock Trio are, but to call Abalone Skeletone anything less than one of the best albums from 2008 would be sinful.

-Mr. Thistle

Tolchock Trio on Myspace