A Winged Victory for the Sullen

(Erased Tapes / Kranky, 2011)

I've been neglecting posts on Forest Gospel for a little bit, for a variety of reasons which equate, in general, to busyness.  But in addition, some sense of exhaustion and, being in a wholly new and largely unfamiliar place, depression.  Life doing what life is best at: overwhelming.  Not that it has been all bad, but certainly difficult.  So I can feel for, in some sense, the emotional weight of what is happening on A Winged Victory for the Sullen.  Not that my troubles compare in any tangible sense to those of Adam Wiltzie and Dustin O'Halloran, composing in the wake of their dual divorces, but it is a very human experience, this loneliness, and one that Wiltsie and O'Halloran are both well suited for, musically speaking (Wiltzie being one-half of Stars of the Lid and O'Halloran having a history composing minor key piano phrases).  Another somewhat depressing layer to this story, though more of a side note, is that Wiltzie and O'Halloran met backstage during the what became the final European tour of Sparklehorse.  So, yes, this is sad, beautiful music.  However, there is also something majestic at work here, something revitalizing and magical.  It's been preying on my weak-spiritedness but unlike Elliott Smith, I'm rejuvenated in the aftermath.  Strengthened somehow.  Which really speaks to something quite dynamic about what is happening here.  To the aspects of victory (the duo's name being quite a wonderful representation of the music).  So, this is vital music.  Vital in the sense that loneliness is simply a part of the human experience, and it is rare that something captures that loneliness so elegantly then takes efforts to sew wings onto its back.  Truly gorgeous in every sense.

A Winged Victory For The Sullen (album teaser) by erasedtapes

Tim Hecker, Peaking Lights, Lykke Li

Music you’d expect me to review (or non-review), but I won’t. Because you’ll already know that you should listen to them, by listening to them:

tim hecker 'hatred of music I' by kranky
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Peaking Lights - 936
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Yeah, this one too.

Lykke Li - Wounded Rhymes (Hype Machine Album Exclusive) by LykkeLi

Belong - Common Era (2011, Kranky)

Belong has long been an FG favourite, from their crumbling, fringed, shoegazing debut – a cloudy guitar-blanket resembling the remnants of My Bloody Valentine smudged and erased down to their earthen core – and their various EP lengthed follow-ups (all notable, but most notable among them perhaps, in relation to this record at least, being Colorloss Record, a stab and 1960’s pop songcraft melted away in the manner that Belong so expertly melts things away). So now, what is it, 5, 6 years later? It is only now that this Louisiana duo has followed up officially with their second album, Common Era. And, surprisingly to all (to me at least), they have leapt quite a distance from their original footing on October Language. These are…songs. Like with lyrics, and drums. The smudged out, erased My Bloody Valentine vibe honed in on in the sound of their first record has been redrawn to more particularly follow that original MBV sound – an erasure and redraw. The result, spawning from a band whose foremost focus has always been sound and texture, is the memory of a song, even as it sits right there in front of you, plain as day: Verse, chorus, verse, ect. I applaud the boys on their willingness to branch out, to risk. I think it’s paid off ripely. And while I still favor much of their early work (Same Places (Slow Version) in particular), Common Era is more than welcome here, and has, as all good records should, increased in its impact and listenability with every spin.

belong 'perfect life' by kranky

66.

Deerhunter
Microcastle/Weird Era Cont.
(Kranky, 2008)

You can't seperate Microcastle from Weird Era Cont. It isn't that they don't have their own nuances and individuality, but together, referencing one another, they are simply divine. Deerhunter's simplification and whole hearted embrace of pop on this (these) release(s) provides some of the most gorgeous moments of straight hooks of the decade. There is bliss around every corner. The release of Microcastle/Weird Era Cont. cements Deerhunter as one of the most important bands of the decade without a doubt.

-Thistle

Atlas Sound - Logos

Atlas Sound
Logos
(2009, Kranky)
RIYL = Deerhunter, Panda Bear

Bradford Cox is on a role. Following up is solid solo debut as Atlas Sound last year along with the magnificent double release from his alpha band, Deerhunter, Logos turns out to be another notch in his steadily growing list of accomplishments. The guy just has a musical Midas touch going on right now. Logos improves heavily on Atlas Sound’s already sturdy debut. This time around the ethereal pop seems to resonate even more, taking cues from Microcastle and his contributors, Cox’s solo work is really coming into its own as an individual entity. I really love the guest spots by Panda Bear and Laetitia Sadier. The whole idea of indie rock guest spots, mimicking the more common occurrence in hip hop, is a terrific trend me think. The albums pacing is magnificent, with each song flowing guilessly into the next. Anywho, I’m not going to waste too many words on this thing. Logos stands for itself and it won’t be long before the album achieves a universal acceptance and critical acclaim. It is really just that great - a fact that simply can’t be avoided.

-Thistle

Hexlove, Dolphins Into the Future and Lotus Plaza

Hexlove
Pija Z Bogiem
(2009, Dreamsheep)
RIYL = Kemialliset Ystavat, Akron/Family, Excepter

I’ve been meaning to get around to a Hexlove release for some time now. Hexlove is the artistic guise of Mr. Zac Nelson and after listening to his work as the drummer of Who’s Your Favorite Son God, I was sure that anything else this guy put to tape, whatever it was, would be a awesome. My introduction through Pija Z Bogiem proved my assumptions to be true – pure awesomeness. Pure madness. Purely ridiculous madness and awesomeness to the fifth dimension. Impure mad prog-awesome radiculousness to the fifth, sixth and seventh dimensions. I should have known by the fact that this was a double discer that Pija Z Bogiem (what?) would be more than overflowing with ideas. Nelson is simply bursting at the seams here with the bizarro creativity of a mad genius from some alternate reality of proggy freak folk wonderment. Where to even begin? Maybe no where at all. It’s just goodness – lengthy tribal jam sessions that twist and expand, expatriate pop songs sunk into a blender and reconfigured with Scotch tape, swine flu hallucinations (trust me on this one) – too much to distill into a single idea. Love.



Dolphins Into the Future
…On Sea-Faring Isolation
(2009, Not Not Fun)
RIYL = Ducktails, Peaking Lights, Oneohtrix Point Never

I’m pathetic. I’ve been scanning through the reviews that I’ve posted recently and near everyone claims to be one of the very favourite records of the year and while I’ve enjoyed everyone of them, they can’t all be my favourite, right? Well, while …On Sea-Faring Isolation isn’t my favourite record of the year, but I do enjoy it quite a bit and on a more trivial note, Dolphins Into the Future is definitely my new favourite band name. I used to favor Birchville Cat Motel in this category, but since Campbell Kneale decided to retire that pseudonym Dolphins Into the Future has stolen the spotlight. I’m glad they did to, because that is pretty much the only reason I started listening to this LP. Jump aboard ‘cuz these spacey, slippery ,droney dolphin tunes that are just perfect for relaxing on a beach chair with a tropical drink of your choice. Delish.



Lotus Plaza
The Floodlight Collective
(2009, Kranky)
RIYL = Deerhunter, Atlas Sound

You should already know about this album by now. Lotus Plaza is Lockett Pundt, who is apparently alternate creative strain of Deerhunter to Mr. Bradford Cox. The Floodlight Collective is shimmery, hazy pop of the finest quality. Think Deerhunter if everything were smeared and blissed out just a little bit more. Really, just a lovely pop record with heavy ambient strings ala My Bloody Valentine with a little bit more sun. Again, you should already know about Lotus Plaza and The Floodlight Collective by now and love it profusely.

"Whiteout" from The Floodlight Collective

-Thistle

Deerhunter - Rainwater Cassette Exchange

Deerhunter
Rainwater Cassette Exchange
(05.2009, Kranky)
RIYL = Microcastle/Weird Era Cont.

My first thought after listening to Deerhunter’s new EP sized outing, Rainwater Cassette Exchange, was more of the same. Then I listened to it again and realized that this ‘same’ that I was thinking of was also one of the best albums to come out last year. So with that, yes, more of the same – a veritable extension of the ridiculously wonderous Microcastle (which already had one extension in Weird Era Cont.) and, consequently, another batch of equally ridiculous bouts of syrupy goodness. These Deerhunter folk just can’t be stopped can they? With only five songs, Rainwater Cassette Exchange flies by in no-time flat, but that also means that I’ve had time to run through this thing a couple dozen times. The experience has taught me that what Deerhunter’s most recent output lacks in quantity it more than makes up for in quality. Each track here is perfectly constructed dream pop with nary a misplayed note. Methodical and addictive, Rainwater Cassette Exchange shows that not only do Deerhunter have plenty left future highlights to look forward to, but that it only takes five perfect songs to keep even their most reserved followers in tow.

-Thistle

Tim Hecker - An Imaginary Country

Tim Hecker
An Imaginary Country
(03.2009, Kranky)
RIYL = Fennesz, Belong, Axolotl

Tim Hecker is among the forefathers of the second generation ambient tug, and with good reason. The back catalog under his own name and as Jetone is pretty much spotless. I know I didn’t necessarily gush over his 2008 album with Aidan Baker, but you have to understand that Mr. Hecker’s works have to stand up to a much higher standard than most artists of his ilk. And even with that self created standard, Fantasma Parastasie was still good. On An Imaginary Country, Hecker recaptures that slightly loftier grandeur that was missing from Fanatasma. In fact, I think it is heaps better. It is weird, I have already read a couple reviews on this album and people seem to be taking the exact opposite approach on these two releases, lauding the Aidan Baker collaboration and calling An Imaginary Country just ‘pretty good.’ Naw man, this thing absolutely kills it! Sure, Harmony in Ultraviolet is still his current high point, but this new album hits on something pretty close. The glacial heft isn’t quite so hefty, but there is an incredible pop presence here that makes An Imaginary Country perhaps more listenable than anything in his back catalog, and that is a very, very good thing. And in terms of comparison with other granular-ambient elder statesmen, I am liking this much more than Fennesz’s album last year. So much for meaningful reviews huh? “I just like it.” Right… But seriously, I don’t know quite what else to say about the album. It’s all classic Tim Hecker, anchored with a frosty electronic pulse and built with swaths and swaths of warm feedback. One thing to note that I don’t think I have consciously appreciated in his past releases is the thick, muted bass tones that permeate An Imaginary Country. I mean, if you can’t hear the same indefinable spiritual/emotional weight with An Imaginary Country (which you should) you can at least feel that aural weight. Simply put, An Imaginary Country is super solid and endlessly replayable. If you have any inclination towards textured ambient/experimental music, this is a must.

-Lil' Thistle

Tim Hecker - "200 Years Ago"

Deerhunter - Microcastle

Deerhunter
Microcastle
(10.2008, Kranky)
File Under = Instant classics

It seems that it is becoming increasingly uncertain whether a given band will be able to deliver a viable follow up to any breakthrough success. Deerhunter left us with promise after by following up Cryptograms with the Fluorescent Grey EP, but you never know, you know? Oh happy day! Deerhunter has done it with Microcastle. They have outgrown their awkward teenage stage and grown into their only slightly less awkward young adulthood. Fortunately, with Bradford Cox at the helm, it is the kind of endearing awkwardness that garners giddy fanaticism rather than uncomfortable silence. With this maturing growth has also come a more confidently stripped version of the goodness of Cryptograms, which for me sat squarely on the second half of that disc. Frequent FG readers know that I’m all for quality drone and textured soundscapes like the ones found on Cryptograms, but it was those anxious pop songs that really won me over when I first heard Deerhunter. With Microcastle, those most delicious and more widely regarded moments are on display throughout and carry an additional little umph in the songs structure department. I mean seriously, is there a much better musical moment than the climactic closing minute of “Microcastle”? The band has set a new standard for themselves here and if their current track record is any indication, things will only be getting better in the future. If that rings true, Deerhunter is bound for the same kind of indie stardom hawked by contemporary staples like The National or Arcade Fire. If that turns out to be the case, it will be attention well earned.

-Mr. Thistle

Valet - Naked Acid

Valet
Naked Acid
(03.2008, Kranky)
Verdict = Druggy, Gritty, Catty Psych

Back with a quick follow up to last years wonderful Blood Is Clean, Portland Oregon’s Honey Owens follow the same line of reason that produced her debut: stark, moody experimentalism waffling between druggy, drifty psych and gritty, drony no wave. Having been involved in several different experimental projects before starting her solo recording project as Valet, Owens has developed depth in a field of artists who often retread the same idea endlessly like they were chained to a treadmill. Naked Acid on the other hand (along with Blood Is Clean) is a dynamic, impressively multifaceted record that is always moving forward into new, murky waters creating a wonderfully cohesive ride. Consistency aside, Naked Acid never seems to reach quite as high as its predecessor. There is something indefinable that leaves portions of the album flat and ineffective as a whole. Perhaps a tint or three darker than her debut, Naked Acid’s morose, alienating grit seems to kind of grind a bit too deep. For some that may be preferable, but I found it a bit tiring. Regardless, Valet has given us a fair sophomore effort that demands that we keep an eye on Miss Owens.

-Mr. Thistle

Valet - "Kehaar"

Atlas Sound - Let The Blind Lead Those Who Can See But Cannot Feel

Atlas Sound
Let the Blind Lead Those Who Can See But Cannot Feel
(02.2008, Kranky)
Verdict = Fantastic Ghostly Pop

After a year of making repeated waves with his involvement in the blooming art punk of Deerhunter in 2007, lead man Bradford Cox turns the corner into 2008 with an absolutely mind blowing solo excursion with Atlas Sound. First off, if you liked Deerhunter you will love Atlas Sound. However, the projects are not quite synonymous. With Atlas Sound Cox has created a shimmering, ghostly record that sits like a glowing mist. In fact I think ghostly is the key here. Opening the album with the sample of a child’s story of a ghost named Charlie, the introductions charming yet slightly creepy ghost vibe permeates through to the very end of Let the Blind Lead. The album is scrupulously layered with textures that wash over the top of the songs, muting the melodies and vocals into a hazy state. The effect is soothing and, again, ghostly in an oddly comfortable way that allows the record to float as if you weren’t sure it was there at all. I think the glory of the record is how easy it is to listen to. Cox isn't making any rash statements here. With Atlas Sound he is simply providing the low key spectral pop that seems to be his strongest card and playing it consistently. This will definitely end up as one of the best albums of 2008.

-Mr. Thistle

Atlas Sound - "River Card"

Stars Of the Lid - Stars Of The Lid and Their Refinement of the Decline

Stars of the Lid
Stars of the Lid and Their Refinement of the Decline
(04.2007, Kranky)
Verdict = More Sleepy Magnificence

I have neglected this release for far too long. Too be honest, I just think I wasn't ready for the undertaking that is involved with a double disc Stars of the Lid release. I mean, the albums predecessor, Tired Sounds of Stars of the Lid was undoubtedly legendary, but it has taken most of the five year gap between that release and this to really come to terms with its achievements. I think the general reason for this is that as their previous record implies, it can be difficult to remain attentive during their entire set, let alone one disc of the two. While the drowsy affect of the music is almost expected from the composers, it is a doubly difficult and lengthy process to digest the whole thing. Procrastination catalyst numero dos: Stars of the Lid, while certainly inhabiting their own signature realm in the world of ambient drone, do not move quickly in anything they do which includes innovation. And Their Refinement of the Decline may as well be an additional two disc to the two already scored for Tired Sounds. There isn't a great heap of indicators from one album to the next that differentiate them. That said, I had become quite comfortable with the idea of retaining my listening achievement in understanding Tired Sounds and didn't have any premonitions to invite more Stars of the Lid into my already crowded musical life. Now, more than a half year after their release, the expected praise and inflated Metacritic scores have finally broken my will and here I am trying to sort through this endless ocean that is Stars of the Lid and Their Refinement of the Decline. As previously stated, Stars of the Lid manufacture a signature sound, so signature in fact that the following descriptors could be interchangeable with most any SotL release. Refinement's sound hangs like a supernatural mist, organic and constantly flowing like an audible reflection the human spirit. SotL are more classically inclined than their contemporaries and have far fewer electronic tints to their work (if any at all). The compositions are meticulous and, as the album title suggests, downtrodden in their mopey drift. So here is the question, does the world really need an additional Stars of the Lid record? After hours and hours with Refinement, I am going to have to concede with an emphatic yes. Just as relevant and enrapturing as their past releases, just as emotive and just as gorgeous, but in the end, not an album with which you should ever have to say just. Magnificent; one of the best of 2007.

-Mr. Thistle

Stars of the Lid - Humectez La Mouture

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"

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

Deerhunter - Cryptograms

Deerhunter
Cryptograms
(2007, Kranky)
8.5/10

Anyone who has heard even a moderate amount of the praise spewing forth for Deerhunter’s sophomore album, Cryptograms, is in for a let down; at least initially. At least I am speaking for myself (as always). Released by the almost incomparably high standards and consistency of Chicago based Kranky label, Cryptograms is an oxymoron of sorts. Marrying early 90s indie rock with their new label’s penchant for experimental ambient ear candy, the theory of Deerhunter’s sound is a marvelous one. However, my first listen was like getting punched in the face. After an almost Kranky required minimalist instrumental intro Deerhunter crushes your preconceived ideas of lifting and inspiring melodies with a garage of course unadulterated rock. For a couple of weeks I couldn’t get past the first few songs. Then one day I pushed my way through to the last half of Cryptograms to find that the hardnosed beginning morphed into a wonderfully satisfying shoegazer pop. Interspersed with several ambient instrumental tracks throughout the album, it is only as a whole that Deerhunter’s Cryptograms can be appreciated and subsequently dissected into individual songs for one-off enjoyments. Cryptograms is, in my opinion the true grower album of 2007. The accolades can now be verified as accurate. Seriously, I love the first half of the album now as much as the last. The context has somehow opened up the entire album like a vision. Do not sleep on Cryptograms, this is one of the better album indie rock albums you’re likely to find this year.

-Mr. Thistle