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Social Studies [Feature]

social_studies

Imagine the pre-Islands band The Unicorns in all their glory; that album, Who Will Cut Our Hair When We’re Gone. Now think of their triumphant return, matured a decade and now female-fronted. The songs are no longer bizarre and there’s been a complete turnaround when it comes to their accessibility to the general public. Imagine that, added with a newfound influence by, say, Fiery Furnaces, and you’ll have Social Studies. It’s somewhere in that general realm, with casio keyboards backed by bouncy pop bass – all of it, enjoyable. Read More »Social Studies [Feature]

People Eating People: All The Hospitals [Track]

people_eating_people

Here’s a name we (or, at least, I) haven’t heard in a while: Nouela Johnston. The former front-woman of Mon Frere gives us her self-titled solo debut under the moniker People Eating People this week and it includes the joyous pop romp “All The Hospitals”. The track finds People Eating People dishing out precocious percussion, hints of bouncy jazz piano, and vocals slightly reminiscent of something between Regina Spektor, and… err… a better version Regina Spektor. And yeah, there’s probably hints of Annie Clark (St. Vincent) in there as well; after all Clark is known for throwing in elements of jazz, and “All The Hospitals” definitely has that. It’s entirely upbeat, something you wouldn’t expect from a song whose lyrics include All the hospitals are closed tonight, but it works and does so quite well. Read More »People Eating People: All The Hospitals [Track]

Washed Out [Feature]

Washed Out

Washed Out channels an 80s-style synth pop and hones the influence into a soft, electro-atmospheric calm. There’s this airy quality about the songs, from the more electronic “You’ll See It” and “Hold Out” to the softer, laid-back “Feel It All Around”. Washed Out is on par with The Radio Dept. circa “Against The Tide”. It has that chill downbeat sound, what some dub as chillwave and others as bedroom synth-pop. Both are adequate, though I’d say it’s more fit for the living room. Read More »Washed Out [Feature]

Capgun Coup [Feature]

capgun-coup

Capgun Coup‘s pure pop sensibilities are thwarted by a distorted fuzz in every element of “Bad Bands”, the first single off their new LP, Maudlin. Yet without it the song wouldn’t have the energy in the crazy jangly guitars and pointed percussion. This energy is channeled through the raucous vocal shouts of Bad bands are my favorite bands and the wild California surf guitar solo that bows out the song. Fitting the noise-pop sub-genre, Capgun Coup returns to the era of garage so inherent in the greats of today. And with “Bad Bands” they demonstrate an excellence in a genre favored by an extraordinary number of hype bands this year. Read More »Capgun Coup [Feature]

Best Albums of 2000

A Retrospective Top 15: Best Albums Of 2000

I’ve decided to create an installment in which I do a recap of my favorite albums of the past ten years now that we’re coming up on the turn-of-decade – yes, 2010 is upon us.

volvo

The key: I do them one at a time.

I figure contemplating the weight of albums that have been instituted in my library for the better part (or even just half) of a decade would warrant a skewed opinion when comparing them to those released just this month. And, as these things are all truly opinion-based, well I just couldn’t have that.

Read More »A Retrospective Top 15: Best Albums Of 2000

Golden Ages [Feature Band]

Golden Ages

Philadelphia’s Golden Ages dub themselves as creators of psychedelic pop, and that would be an adequate description. But it would also be incomplete. Their songs certainly possess elements of the psychedelic; however, there’s a lot going on in each tune that also pulls in everything from electronics to experimentation. Take, for example, the closing track of their new EP Sitting Softly In The Sea, “Everything Will Be Alright”. There’s more electro-pop here than psychedelic pop. The same can be said about opener “Here We Are At Sea”, but the focus is instead on experimentation. And “The Whale” mixes all three. Read More »Golden Ages [Feature Band]

Electric Owls [Feature]

Electric Owls

Backed by a few synths and a light guitar strum, Electric Owls‘ Andy Herod has pieced together a surreal soundscape for Ain’t Too Bright opener “Magic Show”. It’s an energetic tune that is true to the pop sensibilities Herod’s previous group, The Comas, never seemed to quite reach. Where The Comas pumped out one rock tune after another, Herod now seems more than comfortable writing pop songs that have a light rock edge, but don’t stray too far into his former stomping-ground. Read More »Electric Owls [Feature]

Round Mountain: Don’t Lie Down [Song Review]

Round Mountain

At first, Round Mountain displayed what appeared to be a mid-western folk, fit for porches that overlook the flat country with its unbearable heat and plentiful fields of crops. Or maybe the backwoods covering the Appalachians. But as opening track “Don’t Lie Down” continues, something else happens – it begins to stray from the origins of folk to include a barrage of instrumentation quite unique. It maintains much of folk’s sensibilities, that authentic dusty grassroots simplicity, but at the same time it’s complex and genre-defying. Read More »Round Mountain: Don’t Lie Down [Song Review]

Tempo No Tempo [Feature Band]

Tempo No Tempo

There’s a growing obsession taking place here, and it’s with Tempo No Tempo‘s new release Waking Heat. Now, I’ve only heard two tracks — “The Rat (Part One)” and “Medicines” — but I can tell you that both are pretty damn great. And if they’re telling of the rest of Waking Heat, we’re all in store for a sizable treat. A blend of dub and post-punk, Tempo No Tempo’s wild songs are sure to have any true indie fan yearning for more. Read More »Tempo No Tempo [Feature Band]

King Washington [Feature Band]

King Washington

Listen to the songs of King Washington and you’ll be whisked away to another time, when pop/rock was more for the songwriter rather than the producer. Listen to the southwest tinged harmonies that inundate “I Get By” and you’ll hear a blatant reference to the lovable jams of the 70s. Likewise, “Live On” has that lo-fi gritty rock sound of that era, and a matching guitar solo. You can tell these guys like to sing, but they’re also pretty decent musicians. And they’ve got that raw emotion that is so often lacking in the modern genre; just check out “Angela”. It’s not quite garage, but it’s pretty close. Read More »King Washington [Feature Band]

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