Akron Family - Love Is Simple

Akron/Family
Love Is Simple
(09.2007, Young God)
8.5/10

Akron/Family has set a ridiculously high bar for themselves. In 2005 Akron/Family released their debut self-titled full length album; a beautiful blend of gorgeous outsider folk with light prog/electronic tendencies that instantly proved their ability to craft timeless songs. Shortly thereafter, in that same year, Akron/Family dropped what is for me the defining moment of their career so far: split full length with Michael Gira of Angels of Light. The seven songs that the band contributed to the first half of this split are flawless, careening through, possibly, the most imaginative and energetic set of songs I have ever heard. Akron/Family juggled so many different styles with such an imaginative reckless abandon and were so successful doing so that they instantly earned themselves a permanent spot in my heart and have become a band that I have continually watched since. 2006 saw the "not bad" release of Meek Warrior, an EP length disc that failed to approach the consistency or vision of the bands' previous releases, but still provided undeniable evidence of their talent. It is not hard to see why Love Is Simple, the true follow up to their debut and the possible realization of what they accomplished on their Angels of Light split, has been such an anticipated event for me. However, with anticipation comes the almost inevitable let down – whatever the degree. It has happened plenty this year with similarly adored musicians like Arcade Fire, Andrew Bird and Liars. Each produced albums that are well above the average but undeniably lesser accomplishments to the release that directly proceeded it, creating an unfortunate yet unavoidable slight let down. Oh Akron/Family, my sweet sweet Akron/Family, I’m sorry, I just can’t help but listen to Love Is Simple with the same disposition. It just has to be said. Beyond this point there is much to rejoice about in Akron/Family's most recent opus. Akron/Family has always had too many ideas for their own good and Love Is Simple is no different, scattering itself in all directions and exploring every possible option. Somehow, on Love Is Simple, Akron/Family has become even more rooted in the already evident hippie leanings of their past releases. For honest listeners this should be a refreshing and slightly humorous twist on the largely cynical lyrics of the most modern indie music. Love Is Simple is still one of the top albums of this year and is just as good an entry point to the bands gloriously indefinable musical aesthetic as anything. A must listen for every spectrum of the indie world. (oh yeah, and you get an excellent Akron/Family DVD to boot!)

-Mr. Thistle

Akron/Family - "Don't Be Afraid, You're Already Dead"

Mum - Go Go Smear The Posion Ivy

Mum
Go Go Smear The Poison Ivy
(09.2007, Fat Cat)
9.0/10

For Go Go Smear The Poison Ivy Mum found themselves paired down to only two of the original founding members. Kristin Anna Valtysdottir (aka Kria Brekken) finally followed her twin sister Gyoa's (who left the band in 2004) footsteps. Mum fixed the problem by recruiting five new members. I'm not sure such a large number was necessary for an album that still feels slightly minimalist at times, but I'm not complaining since Go Go Smear The Poison Ivy is an absolute charmer and a great addition to 2007's amazingly large list of great releases by already established bands. Go Go Smear The Poison Ivy is a warmer, more playful side of Mum. Male vocals have been added to the mix as well as a new female vocalist. Most songs have multiple vocals happening simultaneously, a stark contrast from earlier Mum work which was haunted by Kristin's ghostly whisper. Go Go Smear The Poison Ivy sounds like the soundtrack to a miniature French cirque. It's childish and innocent, gentle and mellow, reminiscent of the bands first introduction of meeting while working on a children's play. The tracks are so delicate its feels like you would break them if you could hold them in your hand. This is Mum's funnest album to date. It's delightful right down to the creative packaging. This is an album that you will definitely want to physically purchase.

-Sassigrass

Mum - "Dancing Behind My Eyelids"

Arcade Fire and LCD Soundsystem Live at Thanksgiving Point

Guest Show Review

So I wasn’t really happy to be at the LCD Soundsystems/Arcade Fire concert. I was excited to see them play, but I was none too thrilled with the way I got there. Through a combination of misunderstanding, accident, and laziness, I purchased my ticket online from ticketmaster. That means on top of my $36 dollar entrance fee, I was charged a $9 service fee, another $4 US fee of some sort, and an additional $2 to be able to print my ticket! All in all I paid around $52, only to find out that I could have bought a ticket at the door for $36. So I was there, but I wasn’t too happy about it. Luckily we arrived just as LCD was beginning their set so I didn’t have much time to stew. And I know this is probably sacrilege, at least it was to the majority of the audience, but I was primarily there to see LCD, and The Arcade Fire were a bonus. Anyways, LCD began…

Jumping ahead, about three quarters of the way through The Arcade Fire’s set they played “My Body is a Cage”, with Win Butler singing “My body is a cage, that keeps me from dancing with the one I love, but my mind holds the key.” I’m sure these lyrics resonate with many risk averse people who just can’t bring themselves to drop all pretenses and dance. In fact it wasn’t long ago that I had such an aversion, skeptically scanning a dancing concert crowd, wondering if I was missing something, or if they were just more easily duped into having fun than I was. Either way, if James Murphy ever lamented in this way, he found the key long ago. I didn’t expect Murphy’s drums and sound loops to translate as well as they did on stage, but live, his songs are infused with a vitality that is lacking from the already energetic album versions. And even though dance music is generally most at home in a dark, strobe lit room, Murphy’s songs felt as if they were meant for the outdoor stage at thanksgiving point. His voice had a freedom that isn’t as present on the albums. And the atmosphere and energy of live instruments playing dance rock held the key for most of the crowd to dance with the one they loved, or whoever was standing next to them.

As LCD finished with one of my favorites, “New York, I Love You…” I was amazed at how much I enjoyed the show, and how quickly I had forgotten about the $52 I had just shelled out. I thought to myself that there was no way The Arcade Fire was going to top them. They didn’t, but they came close.

The Arcade Fire emerged. Four small circular screens played different clips of old 70’s religious sermons or infomercials. And there they were, dressed like some gothic troupe from the hills of Austria, ready to play nearly every song into a frenzy. And they did. Cameras placed in various spots on stage projected different members of the band on the four circular screens. By design the images were grainy and often black and white, giving the whole band an appearance of a gothic Bible belt revival. It was an odd presentation, especially with Win’s wife Regine Chasagne creepily peering into the crowd as if she were possessed (kinda freaked me out). Each of the ten members rearranged themselves throughout the set, playing different instruments and livening up their stage presence. The sound was typical for an outdoor venue, with much of the instrumentation getting lost in the mix, but The Arcade Fire effectively played their songs into their hallmark crescendo, and the crowd followed. And although there is much to be said for the intimate nature of many indie shows, of which this wasn’t one, there is also much to be said for a large crowd resonating the energy of a band on stage.

Michael Scott once said that presents were great because they were an opportunity to tell someone you like them a certain amount of dollars worth. I can now say that although I wasn’t initially happy with spending $52 dollars on a concert, I left the show liking it at least $52 dollars worth. Though I still would have preferred to have only paid $36.

-Spruce Lee

Mike Wexler - Sun Wheel

Mike Wexler
Sun Wheel
(06.2007, Amish Records)
8.5/10

Mike Wexler, New York's frog-voiced wonder, has finally followed up his superb self titled EP with a full length debut: Sun Wheel. Continuing on his unique strain of outsider folk, Sun Wheel is a seasoned accomplishment filled with genuine songwriting genius. Wexler's heroics lie in his simplicity. Stripped down to guitar, piano and drums, Sun Wheel allows nothing to obstruct the heart of its songs – except perhaps Wexler's voice. Yet, even with his vocal eccentricities there is really nothing overtly bizarre about these recordings. The songs on Sun Wheel could have easily and happily been released along side Nick Drake. Nick Drake is actually a good reference point here. Sun Wheel, while maintain its own distinctness is on par with the mood and feel of Drake's Five Leaves Left. With eight songs filling out the whole of Sun Wheel, Wexler seems to have made a deliberate case to control his efforts into a singular statement. Sun Wheel is the most successful when Wexler allows himself to up the tempo slightly and employ drums, which that were mostly absent on his debut EP. Songs like "Cipher", "Southern Cross" and "Pneuma" accomplish this well. With Sun Wheel, Wexler has created an amiable cult classic of soft natured October folk that deserves plenty of attention.

-Mr. Thistle

Mike Wexler - "Cipher"

The Boggs- Forts

The Boggs
Forts
(05.2007, Gigantic)
7.5/10

The Boggs have come a long long way from their debut bluegrass charmer, We Are The Boggs We Are. After releasing the virtually invisible Stitches in 2003, the band spent an additional 4 years before releasing Forts. There seems to be a definite change in direction here with The Boggs' Myspace page naming Blood On The Walls, Animal Collective and Liars as musical compatriots. Where We Are The Boggs We Are harkened O Brother, Where Art Thou?; Forts is a punk pop foray similar to the Liars' debut or the criminally overlooked Je Ne Sais Quoi. The Boggs aren't the same Boggs they aren't. On Forts, The Boggs have upped their production values approximately 1,000,000 percent. The heavy-handed album opener and title track, "Forts", is a testament to their meticulous mixing for its effective kitchen sink rumble. This is possibly the most notable change in The Boggs repertoire, window shaking rhythms. The Boggs don't just ride this gimmick, however, and reducing the punk rhythms for highlight tracks like "Little Windows," "One Year On" and "The Passage". The Boggs have retained some of the inconsistencies that plagued their debut but these are fewer and farther between. Forts is a healthy improvement and exciting new direction for a band worth keeping an eye on.

-Mr. Thistle

The Boggs - "Forts"

Iron and Wine - The Shepherd's Dog

Iron and Wine
The Shepherd's Dog
(09.2007, Sub Pop)
9.0/10

I've met many skeptics of Iron and Wine, mostly complaining that every song sounds the same, and I always tell them it's because they don't know the songs well enough and to listen a few more times until they are familiar with the individual melodies, but now I can just say "then listen to Shepherd's Dog." Sam Beam's newest release contains all the beauty that you have come to expect from him bundled in his most definitive album yet. It proves most satisfying. The tracks are most distinct this time around, but the diversity is not separative. The calm steady percussion with it's accompanied musical flourishes is sure to charm your socks clean off. One thing I have always loved about Iron and Wine is the lyrics, which are always feel intimately reflective. My favorite track is "House By The Sea," which takes about a minute to build up into Iron and Wine style. Sam Beam is the master of build-ups and you will severely be cheating yourself if you don't listen to all the tracks all the way through. "Boy With A Coin" is a definite charmer. Each track has a grace that you are sure to discover and fall head-over-heels with while inspecting The Shepherd's Dog. This album is here to prove all Iron and Wine critics of their folly.

-Sassigrass

Sorry Sub Pop is not allowing mp3 hosting for this album but you can stream a few tracks on the Iron and Wine website.

Pink Lightnin' - Self Titled

Local Review
Pink Lightnin'
Pink Lightnin'
(09.2007, self-released)
8.5/10

Pink Lightnin' is here to cleanse you of your sins! Preaching a searing sermon via scorching lofi guitars, rollicking drums and a reverberated cleric, Pink Lightnin's discourse is breathing new life into the hearts of men. Enhancing the list of musical projects Eli Morrison is involved in, (Wolfs, Vile Blue Shades) Pink Lightnin' is the absolute best thing he has set his hand to yet. Additionally employing the heart of Bad Brad Wheeler's blues and the sharp blistered drums of Joshua Belka, the allstar collective has created a monster prepped to swallow its listener's whole. It's not all hellfire and damnation though as with instrumental tracks like "Welcome To Pink Lightnin'" and "I'm Comin On" serve of slices of redemptive bliss before the utterly merciful choir of the album closer "Thank You For Enjoying Pink Lightnin'". Morrison, Wheeler and Belka share vocal duties while pounding through the 10 tracks of pure energy on their admittedly cheaply recorded debut. It seems that this recording method is the only way the true, beaten glory of Pink Lightnin' could be represented. It has been far too long since I have heard an honest attempt to create gritty, barn-burning rock. It has been even longer since I have heard this done this successfully. Thank you Pink Lightnin' for restoring my faith in rock n' roll.

-Mr. Thistle

Pink Lightnin' on Myspace

Shows This Week

Shows This Week!

Tuesday (9/25), The New Pornographers will be spreading their new filth classily at The Depot along with Lavender Diamond and The Awkward Stage.

Wednesday (9/26), Arcade Fire and LCD Soundsystem will be inflating ticket prices and teaching a lesson on what a marketing monster indie rock is becoming as they infiltrate Thanksgiving Point in Lehi. I hope they have big TV screens so everyone can make out their faces.

Friday (9/28), Black Mountain will set Kilby Court ablaze with their sleazy awesomeness along with The Cave Singers who share members with the now defunct Pretty Girls Make Graves. Live pick for the week!

Friday (9/28), in further overpriced yet potentially entertaining rock, Smashing Pumpkins and The Bravery will be appeasing musical taste that didn’t advance post jr. high…buts what’s wrong with that?

Saturday (9/29), Redman at Harry O’s in Park City – word.

-Mr. Thistle

Raccoo-oo-oon - Behold Secret Kingdom

Raccoo-oo-oon
Behold Secret Kingdom
(05.2007, Release the Bats)
9.5/10

Behold Secret Kingdom will drive you nuts. This is jungle fever music if I've ever heard it. Like a pack of hallucinogenic shaman driving away evil spirits, Raccoo-oo-oon embrace a primitive tribalism set to obliterate your sense of gravity. Avoiding almost any reference points, it can be difficult to describe the tangled forest of sound that these Iowa City upstarts have grown. Partially comparable to Here Comes The Indian era Animal Collective but with much more bite - perhaps a hellishly possessed Akron/Family on the brink of a sweaty spontaneous combustion might offer up a hint. Upping the production efforts of previous releases, Behold Secret Kingdom is the CD debut (if you don't count CDRs that were reissued on CD format) for the infinitesimal awesomeness that is Raccoo-oo-oon. The new level of production fits the band well; magnifying its ferociousness. And that name! I don't know how to get around how ridiculously terrific it is. On a logical scale two o's would seem to be enough for any band, but after one dip in the fiery swamps of Behold Secret Kingdom two o's seems far too few and six a perfectly necessary amount. This is serious backwoods psychedelics of the sort that you might find in the swamps of a Louisiana witch doctor community. Behold Secret Kingdom destroys rock aesthetics and conjures the most terribly wonderful noise rock you never knew that you absolutely needed. Well, you do - this is a record for surviving zombie attacks and braving cannibalistic tribesman – you need this album, just in case. A serious contender for album of the year.

-Mr. Thistle

Raccoo-oo-oon – "Mirror Blanket"

Vic Chesnutt - North Star Deserter

Vic Chesnutt
North Star Deserter
(09.2007, Constellation)
8.5/10

This review is mostly for those new to Vic Chesnutt. The reason being is that this is my first Vic Chesnutt record though I have known of his prowess. I always cautiously avoid listening to artists who, if they are as good as their resume, require wandering decades into the past to fill a discography. That is exactly what I have feared with Chesnutt of whom his latest, North Star Deserter, is now the thirteenth release. Chesnutt's lyrics trench through similarly poetic and gruff vocal territory as Leonard Cohen, Howe Gelb or Michael Gira; joining him to a cast of characters equally prolific in their output. So now, just as I had to bite the bullet with each of these previously mentioned artists, Chesnutt has provided the impassable North Star Deserter. Employing almost the entire Constellation imprint, Chesnutt is backed here by the entire Silver Mt. Zion Memorial Orchestra, Hangedup, Frankie Sparo and even Guy Picciotto from Fugazi on the record. The results transition between sparsely plucked ballads to thickly orchestrated scorchers; laying the ground work for an album of epic scope. However, even with an all star cast of characters, Chesnutt’s seasoned vocals and tremendous lyrics are always at the forefront, driving each song home. Assuming that such a magnanimous production has not accompanied Chesnutt in the past (and seems to be true from what I have read), it is hard to imagine an alternate accompaniment for North Star Deserter. A solid vision brought to glorious fruitation; on North Star Deserter Chesnutt creates its own definition of beauty.

-Mr. Thistle

Vic Chesnutt on myspace

Kevin Drew - Spirit If...

Broken Social Scene Present: Kevin Drew
Spirit If
(09.2007, Arts & Crafts)
9.0/10

I think the members of Broken Social scene have decided that their solo projects will receive more attention if they slap their old band name on the cover of the albums, thus creating the "Broken Social Scene Presents" label. Kevin Drew's Spirit If... is the first of what is said to be a string of such presented projects. Each member is going solo, (sort of) receiving help in the endeavour from BSS bandmates. Thus making it difficult for you to decide what to name it in your itunes. Kevin Drew was one of the two founders of Broken Social Scene as well as the Arts & Crafts Label. Spirit If... was recorded in a hotel room in Norway. It's indie charmers feel slightly like lullabyes, washing stacked guitars and sounds over you. It's a peaceful album with non-peaceful quirky lyrics. It's laid back and charming. The songs just sort of lackadaisically float out from your speakers and into your ears. It's one of my favorite "new artists" of the year. It's appeal is broad and I doubt that anyone could really be disappointed by the album, maybe not blown away, but never disappointed.

-Sassigrass

Kevin Drew - "TBTF"

Eric Copeland - Hermaphrodite

Eric Copeland
Hermaphrodite
(08.2007, Paw Tracks)
8.5/10

Eric Copeland makes weird music. This has probably already been evidenced with his membership in NY experimental bands Black Dice and Terrestrial Tones; so, yeah, unarguably weird. On his horrifically packaged solo debut, Hermaphrodite, Copeland employs familiar freak-fest electronic soundscapes that fit snuggly between the works of his other bands. The "music" tends to disorient, confuse, excite, baffle, belittle, question, confuse again and then oddly satisfy (albeit confusingly). Hermaphrodite stays true to its title and cover art: never betraying a particular gender and most commonly achieving a whole new alien sexuality in its meanderings. Outer-space synthesizers, deep jungle percussion, manipulated vocal chants; these, among various other unidentifiable components, structure the looping madness. It all reminds me of the kind of music you might find at a rave in Mos Eisley (of Star Wars, duh). Copeland manages to avoid the potential pitfalls of the boredom/insanity that his experiments could potentially inhabit by packaging them in happy pop-sized scoops. Hermaphrodite is a terrific debut and deserves attention for its individual merits and not just for its musical relatives.

-Mr. Thistle

Eric Copeland - "Hermaphrodite"