WK35 - Memory Tapes- Seek Magic (9.5)

Released - 8/25/09

Label - HSR

BLURB - With only 3 more records to go on the year, I’m opting for some titles that I have definitively never heard of. Enter Memory Tapes. Lucky for me, this was right up my alley. This disc is filled with spacey electronic, yet occasionally funky grooves. There is a nice amount of haziness and subtle, introspective appeal to this album. I didn’t know if I liked it until I really sat down and listened to it. And I do. There is a well balanced combination of instrumentation and electronica that weaves in and out of this 1970’s lo-fidelity vibe. Granted the songs are not pop, and are generally downbeat, but there is an understated, experimental and honest charm to them. Think of a more electronic and less folksy version of MGMT that got mixed in a batch of Thievery Corporation. Not bad, eh?

Rating - 9.5 out of 10

FULL STORY - So I heard about Memory Tapes via Pitchfork's Top 50 Albums of 2009. I really didn't read the review too thoroughly, but since I often butt heads with Pitchfork (they gave Phrazes for the Young a 5.5 out of 10!) - I figured I'd see if I agreed with their ranking of 23rd for Memory Tape's 'Seek Magic,' and ironically, I do.

The second track, 'Bicycle' is Memory Tapes' so called attempt at the 'radio single.' For some reason this is how I wanted and expected Passion Pit to sound. There is a flurry of musical events going on, yet everything sounds relaxed and refined. Very confident. I've never felt that Passion Pit ever really bought into their sound...and I still don't. But that's neither here nor there. After lulling the listener to sleep for the first 6o seconds of cautious singing, percussion and sound effects, the song holds steady for a brief period, only to then be inundated with an intoxicatingly heavy bass riff and an arsenal of effects and background vocals. The song continues to vary in momentum and pace for its' duration, with everything ultimately coming together in an outstandingly crafted ending. Vocal chants mixed with repetitive guitar riffs prove to be a nice combination here.

Easily the funkiest track on the album is 'Stop Talking.' An electronically groovy bass line lays the bedrock for this track as typical 'too cool for school' shoegazer vocals are carelessly submitted. Cue wah wah pedals? Somehow the answer here is yes. As battling guitars and wah wah effects push their way to the forefront, we're hit with another fuzzy bass line and also a wave of synth. Clocking in at 7:02, the length may push some people away. Not me though. With my background admittedly being in jam and electronic music, I really appreciate and admire when an artist can throw together a song, and just see where it takes him. The majority of 'Stop Talking' is fairly consistent, but Memory Tapes very subtlety alters what's being pumped out of the speakers. It may take a few listens, but this track will leave you hearing new sounds and grooves with each successive listen.

'Graphics' (#6 song of 2009) is likely the most electronic-based song on the record. The intro and verse are kind of out there and don't really flow, but maybe this was done for a particular reason? After a bit of stumbling we find the best use of a chorus on the album, bearing much needed depth and weight in the lo-fi electronic realm that Memory Tapes creates. As you continue listening to this track you can hear the song evolve with each passing second. After that amazing chorus, there is an equally satisfying musical bridge that continues contorting sounds and vocals with synthesizers and computer effects. The song never reverts back to the original clumsy introduction and verse and grows organically into a monster of sound. While this track may not be Memory Tape's most popular, it certainly showcases their talent and musical fortitude.

I think this record is amazing. Here's my theory though...it's a little bit too out there for the legions of fans that claim to like the Passion Pits and MGMT's of the world. Memory Tapes may be a little too indie for all those out there that say they like indie. They have a little bit of MGMT in them, but have no tracks remotely close to sounding like 'Electric Feel.' Likewise, they have a little Passion Pit in them, but Memory Tapes does not force a 'Little Secrets' on their audience. This isn't a bad thing, I'd actually argue it's a great thing. Memory Tapes has such a great fusion of sound and experimentation going on, it's really hard for me not to get sucked in. The album has a very organic feel to it as well. Call it lo-fi, call it whatever. Regardless, 'Seek Magic' is a great release and one I'm happy to have found it. Wouldn't mind getting more than 8 songs though...

Tracks

1.) Swimming Field

2.) Bicycle

3.) Green Knight

4.) Pink Stones

5.) Stop Talking

6.) Graphics

7.) Plain Material

8.) Run Out

WK34 - Neon Indian - Psychic Chasms (10)

Released - 10/13/09

Label - Lefse Records

BLURB - Of all the albums I’ve reviewed on this blog, ‘Psychic Chasms’ will be the best of the year. This is for sure. Pretty easy decision too. Had it not been for Animal Collective releasing ‘Merriweather Post Pavilion,’ this would be my overall number one record of the year. Neon Indian is a one man wrecking crew, endlessly bludgeoning all of us with lo-fi synth pop in the most nostalgic of fashions. How so? Well, every song sounds like Wham’s rendition of ‘Last Christmas.’ But underneath all of these warm and fuzzy musical layers are themes that truly suggest he is anything but warm and fuzzy. Neon Indian offers up both introspective and highly interpretive lyrics that have a darker, thought provoking feel, leaving everyone in it's wake unable to stop listening. It’s simply that good

Rating - 10 out of 10

FULL STORY - Being the big music geek I am, I spend far too much time on iTunes looking at what people, who have bought albums that I bought, are buying. Follow? This led me to Neon Indian’s ‘Psychic Chasms.’ Essentially I use iTunes like it is one gigantic, widely traded mix tape. I brought it into work and sent it around to a few friends, whom either instantly loved it or hated it. A lot of the music I listen to has that quality. Long story short, this album ends up being one of the major discussion points at my company holiday party...well, that and Jersey Shore. Turns out I’m not the only person digging the indian and I end up scoring a couple tickets to see him at Mercury Lounge the next week. Sweet.

There’s something about seeing a brand new up and coming act live, whom you’ve just started following. You’re kind of unsure what you’re going to get and that show ends up being crucial. It’s the make or break point. It’s where you either decide to buy in, or move on. Neon Indian at the Mercury Lounge was one of those shows that makes you go all in. Everything from the energy to the emotion and sincerity of his performance was as addictive as I would guess meth is? Maybe more.

I think Neon Indian really appeals to me on a more personal level than other albums I’ve heard this year. For starters, I’ve really gone off the deep end as far these low fidelity, ambient-indie acts. There’s just something creative and different about it that I can’t get enough of. The whole Animal Collective, Panda Bear, Atlas Sound, Oberhofer scene...that’s my scene. What also draws me into these acts is the overwhelming homemade quality their sound has. The majority of these groups are just one person, or a small collection of very close friends. You can really get the sense of unbridled unity, motivation and friendship - pouring out of every track. There is a combination of seriousness, excitement and passion that is just more tangible and real than the majority of music that is out there. It’s also nice to use these artists as a measuring stick of sorts to myself, because I know all of these albums are being made in someone’s basement or apartment. This whole genre is filled with people like me, that listen to the same music, read about the same music and create, to some extent, the same music. Kind of like I’m indirectly friends with all of them. This common thread and affinity for music makes it extremely easy to root for them. Makes me pretty jealous too.

This is the part where I review the album and tell you what I liked about it. I break down the songs and encourage you to have your own go-round and decide for yourself. The only thing is, I’m at a loss of words. For those that know me, you might think this impossible. I can talk everybody’s ears off about music and I enjoy doing it. Get a couple drinks in me, and you won’t be able to get rid of me. It’s bad. But with ‘Psychic Chasms,’ I feel it’s so transcendent and unique that no line of contrived dialogue I put out will be able to explain exactly what this record sounds like or means to me. I’ve had several failed paragraphs already. In looking for some motivation I blindly perused some reviews and stumbled upon one that I could only wish that I had written. It nails every description and comparison I’ve been trying to force out of my brain. I am by no way making any claims to the authorship of the article, but I would like to recognize the source, as he did a stellar job. So please check out Citizen Dick (citizendick.org) for more great work. Here are my thoughts, brilliantly transcribed by a person named ‘Kevin.’

“I may be a bit obsessive-compulsive, but I have to believe people digest albums like I do. I tend to become a fanboy immediately with albums that jolt me from the starting gun, relentlessly focusing on three tracks that grab my attention first. Next, I eventually grow tired of the three standout tracks and move onto another section of three songs that I originally thought mundane and less noteworthy. Usually this results in a battle of sorts. I love those original tracks that drew me to the band’s sound, but inevitably wind up pushing them backwards in the playing rotation. Inexplicably, however, there always seems to be three tracks on every album that fail to make it into my pleasure-filled musical database. Try hard I may, but it’s an extremely rare occasion that an entire record is not just enjoyable to me from top to bottom, but noteworthy. Neon Indian’s Psychic Chasms is a debut that took a little time to wrap my brain around fully, but the fruits of ear-labor have never failed me yet. It’s an album rich with energy and a hard to pinpoint coolness that’s achieved through a varietal and shifting blitz of sound. Not a track is worthless, and in fact, if you listen to records like I do, the progression will leave no slag and the enjoyment tightens with each subsequent listen.

In my review of Deastro’s Moondagger earlier this year, much of the review focused on the reminiscent aura that certain electronically based outfits have been dishing out recently. For a self-professed alt-folk fanatic, it’s a pretty awkward admission that Alan Palomo (Neon Indian) creates the kind of music that knocks me straight out my LA Gear’s and into a completely fulfilling nostalgic mode. The central conundrum regarding electro-throwback music is that I have literally no way to merely describe a deeply rooted vibe. Typically, reviewing albums involves at least some shred of musical understanding. Although Psychic Chasms takes me far, far away from my comfort zone, I can’t stop playing it. The initial run through begins slamming “(AM)” at the listener, starting with a cylindrical synthesizer screechy sound that melts into the background as a nasty badass 80’s bouncy rhythm kicks in. Softly delivered vocals juxtapose the hard hitting grooves and busybody Danelectro attack. It’s this album opener that reeks of quirky mid 1980’s summers at the roller rink, super-rope licorices and, believe it or not, mid-period Prince material. Slick guitars and pinched out and looping sounds are splattered through each track. The retro hooks are encapsulated by spookily morphed and slowed down synth riffs that warble alongside nearly every song.

Perhaps it’s a trite over-generalization to assume Neon Indian is swinging for nostalgic fences here, as Palomo is extremely adept at spiraling sound mixtures. At times, the stacks of dominant sounds all layered on top of one another are quite brilliant. The midway arc of three songs, “Mind, Drips,” “Psychic Chasms,” and “Local Joke” point to wider and expansive takes on pop predecessors. At the heart of all three is a simplistic drum machine, aptly keeping time while each track spins and rises in sound-intensity. It’s easy enough to peg this as an album with repeat value for ambiance alone, but deeper listens unveil ripping keyboard arrangements, frenetic blips and flurries of wavering riffs. “Ephemeral Artery” links up a straining synthesizer behind everything, and like a car in an automated washer, it’s difficult to tell whether the songs moving forward or I’m moving in reverse. Super intriguing.

For me, however, what nails this album down is it’s drenching mid 80’s aura. “(If I Knew, I’d Tell You)” is forty-eight seconds of fuzzy and shaky brilliance that hearkens back to the most memorable early 80’s porn. If that’s a weak observation, our readership will have to accept my apologies, because my mind wanders constantly to those awkward instances of my youth, poorly dubbed Ginger Lynn fully included. To summate the value of this album, it’s important to first enter with a specific direction in mind. Like a choose-your-own-adventure book, this record consistently pulses from start to finish, and depending on listener preference, it can dive into nostalgia or enrich in a modern sense equally as well.”

Tracks

1.) (AM)

2.) Deadbeat Summer

3.) Laughing Gas

4.) (If I Knew, I'd Tell You)

5.) Terminally Chill

6.) 6669 (I Don't Know If I Know You)

7.) Should Have Taken Acid With You

8.) Mind, Drips

9.) Psychic Chasms

10.) Local Joke

11.) 7000 (Reprise)

12.) Ephemeral Artery

WK27 - Atlas Sound - Logos (6.5)

Released - 10/20/09
Label - Kranky

BLURB - I've never seen a record with such polarity as 'Logos.' I mean there really is everything here...good and bad. Over the last year or two, I dove into the psychedelic, layered, sonic-esque sounding artists that have risen to prominence, namely Animal Collective, Panda Bear and Deerhunter. For some reason I have an infatuation with groups that can create a wall of sound - whether it be through computer loops, instrumentation, vocals or other means. It's always seemed ingenious and creative to me; anyone can write a four chord song... so why not do more? Atlas Sound, in his second release, attempts to do this, yet stumbles along the way. Maybe I expected too much, but 'Logos' brilliance is short lived and can't compete with the Panda Bears of the world.

Rating - 6.5 out of 10

FULL STORY - So if it can't compete why did I give a 6.5? Well, the answer simply is, 'Walkabout.' If you can remember back to my review of Grizzly Bear's, 'Veckatimest' I stated that 'Two Weeks' was the best song of the year. Allow to me correct myself, this title belongs to 'Walkabout' the third song on this record, which features Panda Bear of Animal Collective. This is perfection. 'Walkabout' is a fusion of layered motifs and brilliant songwriting that will have trouble being topped by the year's end. Atlas Sound (aka Bradford Cox) is more or less known for being this very introverted fellow, producing somewhat somber tunes of self reflection and observation. So it's refreshing to hear such an uplifting, nostalgic song here. Parts of 'Walkabout' sound incredibly new, yet there is such a timeless quality to this track.

Another strong effort on this album is 'Quick Canal' featuring Laetita Sadier; an eight minute computer looped, background vocal filled masterpiece. The track is incredibly well-paced, never moving too quickly or slowly. Atlas Sound effectively works the piece to match Sadier's vocals, steadily increasing waves of static noise. The track is much like a train, building steam and momentum, incorporating more and more effects without the listener ever taking notice. This is incredibly difficult to accomplish - and Atlas Sound performs this task effortlessly.

Now we get into the grey area. After these two tracks, this album goes downhill in a hurry. The rest of the album is filled with monotonous, uncreative loops and imagery. In a genre of ambient music where songs can take on so many shapes and forms, 'Logos' seems boring and uninspired. Countless reviews of this album are raving about this release and I'm not sure I agree. Atlas Sound's last release was heralded as a depressing, emotion filled experience, which was giving way to a supposedly progressive new record in 'Logos.' I'm sorry...but it sounds like the same old act to me.

With the two best tracks on this record featuring outside songwriters, I find it hard to give Atlas Sound a world of credit here. Aside from 'Walkabout' and 'Quick Canal' this entire album is forgettable. Every track is filled with slow loops, monotonous acoustic guitar riffs and uninspired vocals. Several of these tracks also feature Cox manipulating his vocals through computer effects and static - creating an almost unbearable experience. Plain and simple, it is difficult to get through. The lyrics here are undoubtedly sincere but poorly delivered.

Cosby Show Segue-way!

For whatever reason, one of my favorite shows of all time was The Cosby Show and so I'm drawn to make an analogy here. In the best episode of the series, Vanessa brings home her fiance without telling Cliff and Claire that she got engaged. What ensued was hilarity. The main point Cliff was trying to get across was this: presentation. Vanessa could have brought home a doctor that made 20 million dollars a year, but she did so in a matter that was shallow, selfish and unthoughtful. Even though her fiance was a mere custodian, he was presented to the family in a terrible manner, creating an environment that was impossible to receive acceptance.

This is what Atlas Sound does. He has tons of potential and brilliant ideas and imagery, but the way his work is delivered does not accurately reflect his genius. There are too many detracting factors. Too many effects, too many musical obstacles to overcome. This is why he invites Panda Bear on the record - he knows he'll never be that good.

That being said, 'Walkabout' is the best song of the year, credit Noah Lennox.

Tracks
1.) The Light That Failed
2.) An Orchid
3.) Walkabout (With Noah Lennox)
4.) Criminals
5.) Attic Lights
6.) Shelia
7.) Quick Canal (With Laetita Sadier)
8.) My Halo
9.) Kid Klimax
10.) Washington School
11.) Logos

WK14 - Papercuts - You Can Have What You Want (6.5)

Released - 3/24/09

Label - Gnomosong

BLURB - This dreamy collection of ambient '60's style folk-pop is like tumbleweed blowing by a deserted road. It doesn't move in any particular direction, even though it looks like it's trying to. 'You Can Have What You Want' is incredibly simple, yet doesn't sound as if it is from 2009. I've listened to this record more than I should probably admit, but with the album being so vague, it's hard to recall any specific 'highs' and 'lows.' Wholly, this record is breezy and great background music for some light afternoon reading, it's very unassuming and neutral. Individually, nothing jumps out and it's almost impossible to differentiate between songs and even between what is great and what is terrible.

Rating - 6.5 out of 10

FULL STORY - This is probably the least memorable disc that I've heard this year, yet I listen to it a fair amount. It's incredibly relaxing and full of air. The problem is that after hearing each song, one instantly forgets it, deleting it from their musical memory. The record is filled with organs, strings, pianos, acoustic guitars and tons of background vocals. Production of 'You Can Have What You Want' was obviously done to mimmic the '60's and '70's. This record would have been perfect for the California hippies after a long day of surfing, coming back to their apartment to smoke pot and reflect.

Shifting to the present day, the track that I am most fond of is, 'Dictator's Lament.' For anyone that has seen Napoleon Dynamite, this song sounds like every number that was used as a transition between scenes. There is a very heavy, almost wet-sounding organ that plays throughout the tune. Each track on this album has so much reverb and fuzz, giving depth to alot of the lighter melodies that present themselves.

The best 'Non-Napoleon Dynamite' track is 'Future Primitive,' and definitely reverts back to the '60's with its' lyrical content pertaining to an apathetic soldier who fights in a war, and upon returning can't look at himself in the mirror. Some pretty heavy stuff, actually. The drums are almost done to a melancholy marching pace and one can picture themselves entering a battle in which they don't want to be in. The title track follows up, 'Future Primitive' nicely, painting a canvas of understanding, acceptance and hope:

"You can have what you want and throw the rest away. The things you said you wanted are all left out for you."

This is a nice little reminder to us common-folk, that nothing ever really prevents us from getting what we want or need. This song features some nice background vocals and its' simplicity and broadness provides more meaning than the song should have.

Outside of these three tracks, or should I say with these three tracks, this record sounds like one long song. The only thing that really changes is the instrumentation, with the pace of the record remaining in the slow to very slow range. This is good and bad. It's good because you can just throw this record on, do some thinking, maybe read a book and you can really relax. I listen to this all the time at work when I have something complex to work on and don't want to be distracted. There's no foot tapping or snapping to this record. You don't all of a sudden skip to track eight because it has a great chorus and then back to track four because there is a cool guitar part. It's bad, however, because there is nothing to differentiate between songs. I only mentioned, 'Dictator's Lament,' 'Future Primitive,' and 'You Can Have What You Want' because those are probably the only songs of which I know the names to, and I've had this album for three months.

The Papercuts will ultimately stay in my music rotation but for the wrong reasons. This is what I want to listen to when I don't want to listen to anything in particular. It's easy on the ears and doesn't require your undivided attention. Great coffeehouse music. Unfortunately, this isn't the '60's anymore and 99.99% of the world won't pay attention to The Papercuts, including myself.

Tracks

1.) Once We Walked in the Sunlight

2.) Dictator's Lament

3.) This Machine Will Tell Us So

4.) A Peculiar Hallelujah

5.) Jet Plane

6.) Dead Love

7.) Future Primitive

8.) You Can Have What You Want

9.) The Void

10.) The Wolf

WK 10 - Sound Tribe Sector 9 - NYE.ATL.08 (Live) (9)

Released - 5/26/09

Label - 1320 Records

BLURB - It’s extremely difficult to find any major faults with STS9’s release of their 2008 New Year’s Eve show in Atlanta. Spacey jams, dance hall beats, samples, jazz pianos, creative guitar riffs and synth galore flood this concert from all directions. What more could you want?

Rating - 9 out of 10

FULL STORY - Sound Tribe Sector 9 quietly, and quickly, came into prominence over the last decade, developing quite a troop of devoted fans along the way. They have a certain ‘grassroots’ feel to their sound. They are unique and they’ve cleverly found a way to weld together a wide range of genres and influences. One can easily find shots of rock, jazz, ambient, jam, funk, hip-hop and house music in any track without really even looking for them. Some would call it organized chaos. This fusion of sounds and the band’s determination to keep re-evaluating and evolving their techniques is prevalent in their live shows. STS9 is known for archiving their shows and often times taking a particular piece of a song that they’ve played, and re-working it as a sample, to be used in an upcoming concert, showcasing their endless creativity. Despite having several studio records, the band is and will forever be known for their amazing live show. This release shows us why.

The set starts off in the most appropriate of fashion. ‘F-Word’ and ‘Be Nice’ establish a formidable opening duo. Each song has a ‘countdown’ feel, particularly ‘Be Nice.’ If I was ever to be in a rocket ship getting ready to be launched into space, I would want to here ‘Be Nice’ just before liftoff. The energy and tension found in these two songs is very tangible. ‘F-Word’ and ‘Be Nice’ really set the table for this show. From here, the band dives into ‘STS9,’ a number that starts out slow, works it’s way to higher intensity through some uptempo, yet minimalistic guitar and synth work, resolving to a calm outro. The song segues into, ‘Biggs’ which is a huge crowd pleaser. The song opens up with a sample shouting, ‘Everybody in the fucking house...1...2...3...’ For the most part, this song is simply a slow drum beat laced with some eerie sound effects and a jabbing series of digital horns that slap at the back beat, high-fiving the crowd each time.

Up next comes ‘Metameme’ which is done at a considerably slower pace. The eeriness from ‘Biggs’ continues here, as some futuristic computer effects are thrown at the audience. The song does wander a bit, as every good jam song should. At certain points in the track it sounds as if ‘Metameme’ is a breathing organism, looking for something. It eventually finds a resting place in ‘Jabez’ where soft piano hints of jazz weaves its way through a looped vibraphone line. The tune varies in pace and is greeted with some low register synth lines about halfway through. ‘Jabez’ continues it’s search for what ‘Metameme’ was looking for, and discovers it in the next song, ‘Moonsocket.’

With effects creating an environment ripe for an alien takeover, STS9 busts out ‘Moonsocket.’ The song slowly and powerfully builds up steam, adding instruments and sounds when necessary and then explodes over the loudspeakers just before the four minute mark. All that really happens is a simple guitar riff, but it is the one consistent that holds the track together. Behind the repetitive guitar notes is what appears to be a jazz organ on acid and some funky slap bass lines. The guitar motif is cleverly arranged to vary frontwards, backwards, sideways and then back to their original setup. Once this groove is exhausted, the band plateaus for a brief period of time, switching keys and tempos, pushing forward through an ascending power struggle of guitar and piano. Then it’s right back into the pre-established motif, with an entirely different, yet equally great, background arrangement. STS9 are masters of knowing how to accomplish the same feat in a multitude of fashions.

After being taken on the ‘Moonsocket’ journey, the audience now finds themselves lost in a deep sea of space and air, that being, ‘Looking Back on Earth.’ Call it a ‘break in action’ if you will but it serves the purpose of readying the crowd for certain perfection in ‘Kamuy.’ Filled with dancehall beats and synthesizers, ‘Kamuy’ is everything it should be. My only gripe with this version is that it features the obligatory drum solo, that may or may not still be going on. Up next are ‘Empires’ and ‘New Soma.’ The concert could have done without these two tracks as they are nothing to write home about. ‘Empires’ gets a little funky towards the end, but both tunes are weighed down by some very heavy, industrial synth.

The suite of ‘Evasive Maneuvers Pt. 1 > Surreality > Evasive Maneuvers Pt. 2’ is well done but comes off as a tease. ‘Evasive Maneuvers’ is pretty much ‘Kamuy’ sped up and without the guitar motif. ‘Surreality’ offer some light and airy variations during its segue way, but Pt. 2 finds a way to resolve back on to some fast paced grooves. ‘EHM’ pits an 11:32 battle of polar opposites with dark, menacing synth prevailing in the end. Confusion and tension are filled in ‘EHM’ and forms a nice little battle for the audience to witness. Next is ‘Lo Swaga,’ which remarkably comes off as unpolished and very coarse. Of the countless versions of this song I’ve heard, it’s always been spot on. For whatever reason, ‘Lo Swaga’ is peppered with several botched notes in it’s introduction. After the rust wears off, the song peaks as the band does some handy work balancing improvisation and it’s central riff.

‘Music, Us’ finishes off the show, and in a proper farewell. The song dabbles with a ‘Love is All We’ll Ever Need,’ sample and features piano as the main instrument of choice helping to accomplish a sincere yet relaxing jam. ‘Music, Us’ does venture off to a couple places, but never strays to far away from a relaxed, electronic, jazzy, sample-ridden groove. I imagine this song being played on repeat in a modern coffee house in Amsterdam.

The point to drive home with STS9 is that the sum of their parts is always better than one singular song. Their songs are made better by the way in which they are surrounded at their show. It’s never about hearing the ‘hit’ or the ‘single.’ There are none. On a more personal note, two of my favorite STS9 tracks, 'Aimlessly' and 'Instantly' are nowhere to be found, yet this show still oozes with greatness. Sound Tribe's shows are ultimately not about the band or their songs, it's about creating an experience, and Atlanta was certainly treated to a memorable one. While I can hear what occurred through this second hand release, I can only imagine what it would have been like to be at the party. The drugs had to have been flowing.

Tracks

1.) F-Word

2.) Be Nice

3.) STS9

4.) Biggs

5.) Metameme

6.) Jabez

7.) Moonsocket

8.) Looking Back on Earth

9.) Kamuy

10.) Empires

11.) New Soma

12.) Evasive Maneuvers, Pt. 1

13.) Surreality

14.) Evasive Maneuvers, Pt. 2

15.) EHM

16.) Lo Swaga

17.) Music, Us

WK6 - Grizzly Bear - Veckatimest (10)

BLURB - An incredibly open and spacious journey, filled with interpretive storytelling. While this is a 'hard listen' at first, there is some real depth to be discovered. Unlike anything I've heard all year, it plays almost like an indie-folk film score. Upon further review, genius.

Rating - 10 out of 10

FULL STORY - I love all music. However, when music scratches at places other than your auditory system, then I really love it. The first time through this record, I listened to it kind of haphazardly. There was an incredible amount of buzz around the release of 'Veckatimest' and when I wasn't initially punched in the face with amazing-ness I was quick to write it off. After about 7 or 8 full plays, I am convinced the record is alive. I'm constantly hearing new sounds and lines and choruses and moods with every listen. More importantly, I cannot sit and listen to this album without being forced to think about something or someone. Grizzly Bear brings back the mystique of what music was always intended to be used for...................thought.

What really has captured my attention is the brilliant songwriting and lyrics. For whatever reason, it seems as if I can relate a time or event in my life to every song on this record. The lyrics and the music work as one unit to accomplish this task. Whenever there appears to be a shift in the mood or emotion of the lyrics, the music is always accompanying the shift perfectly. This helps in creating an extremely vivid and somewhat cinematic atmosphere. You can close your eyes and see the music in front of you. Everything on 'Veckatimest' is extremely visual. The best way to listen to this would be to turn all of your lights off, close your eyes, put on some huge headphones and see where it takes you. For a lack of better words, this record 'talks' to the listener.

The only thing better than the lyrics may be the music. At times there is so much going on, but it is never too much. The instrumentation coupled with Grizzly Bear's imagination and creativity take this record so many different places. For the majority of the compositions all that is needed is an acoustic guitar and a voice. So when massive string sections, percussion, well-thought out background vocals, muffled electric guitars, fuzzy keyboards and even some synth loops are folded into the recipe...it is perfection. With all of this going on you might think there would be chaos, but there really isn't. The album is simple when it needs to be, and complex when it needs to be.

One other aspect that cannot be left out of the conversation is the vocals. This album was constructed with, what appears to be, a substantial amount of importance and emphasis on the voicing of the songs. Every track is filled with countless beds of background vocals and choruses. I've never really heard a record like this. Grizzly Bear's interpretation of what a vocal should be is nothing short of brilliant. The backgrounds serve as an additional vehicle to drive the song, and provide sincerity and depth. The foreground vocals are performed with grace and civility, almost creating a religious tone. I'm quickly drawn to comparisons of a pastor leading an extremely moving sermon, where the service treads a fine line between conversation and song. It's remarkably thought-provoking and enlightening. Has my generation finally found their own Brian Wilson in Ed Droste? This is truly the music sophisticate's delight.

'Two Weeks' is the best song of the year.

Tracks

1.) Southern Point

2.) Two Weeks

3.) All We Ask

4.) Fine For Now

5.) Cheerleader

6.) Dory

7.) Ready, Able

8.) About Face

9.) Hold Still

10.) While You Wait for the Others

11.) I Will Live With You

12.) Foreground

WK2 - Eliott Lipp - Peace Love Weed 3D - (9.5)

Released - 1/27/09

Label - Old Tacoma Records

BLURB - Like a fine wine, Eliott Lipp is constantly getting better with age. The producer / DJ / electronic mastermind proved that, 'The Outside' was not a fluke and in doing so may have invalidated his previous releases. This one is hard to put down. Welcome to the elite.

Rating: 9.5 out of 10

FULL STORY - The story goes for musicians, that one will focus and listen to the music that they are currently involved with. Four months ago I purchased my first synthesizer, and predictably became obsessed with electronic music and experimenting with new sounds. Now I am no pro by any stretch of the imagination, but my experience with electronic music has really helped me appreciate and differentiate between outstanding and mediocre work. I bought Eliot Lipp's - 'The Outside' nearly 8 months ago for the sole reason of seeing he was opening up for the Pnuma Trio for a couple shows. I had never heard of him, but was obsessed with Pnuma Trio at the time. The Trio is one of these new 'Jamtronica' bands that have been quickly gaining notoriety through not only their recordings but their amazing live shows. This genre of music started growing as a part of the post-Phish era and is generally typified as a fusion of jazz, jam, house and electronic music.

My biggest (only) gripe with Lipp's previous release was that there was often too much space and down time in his work. The production value was amazing, but in attempt to strike a mood with the listener Lipp often was reluctant to show progress with certain tracks. The ability was there, but complacency may have snuck in rendering songs unable to push forward. 'Peace Love Weed 3D' not only corrects this flaw, but forces the listener to apologize for ever doubting his potential. Every track in this record not only has a great vibe, but goes somewhere. Lipp does a great job of initiating a solid groove and then slowly reworking it into a completely new groove, and into another. This creates the experience of a club scene where there is a great mix going on, and then all of sudden 4 minutes later there is an entirely different mix going on, but the transitions were so well organized that you had never noticed the change in tempo or beat.

The greatest compliment I can give for an electronic artist is recognizing the ability to string a listener along without having them lose interest. Often times beats and grooves and jams can become monotonous, and while they are addictive at first listen, after 5 minutes if nothings happened I'm going to move on. That's my knock on techno music. Every techno song is unbelievable for the first 3 minutes, but after that I'd rather be folding laundry or grocery shopping. Lipp has a very subtle way of conveying mood and voicing through precise organization, and while this seems like a complex way of forming a song, it always seems effortless. He never has to convince the listener - the momentum and talent appears instantaneously and continuously.

Segueing off of the above, I love analogies. In life the talented, well-groomed, attractive man never has to convince the attractive woman to go out for dinner. He just has to ask. For the rest of us, we often spend our time tirelessly trying to convince the attractive woman that we are worth it, and that they should go out with us. We make bold claims and offer brief glimpses of excellence, but the act of persuasion never ceases to exist. Compare this to the majority of electronic and 'Jamtronica' artists. In such a fast rising genre there are too many artists to go around - and throughout this crowd the overwhelming majority are simply presenting their case in attempt to convince us that their efforts are worthy of their own self-acclaim. While these arguments are valid for some artists, they are often just hype and hearsay. With Eliott Lipp's - 'Peace Love Weed 3D' it is clear that he is not trying to convince anyone. Lipp has joined the ranks of Sound Tribe Sector Nine, Pnuma Trio and Lotus. From this point forward all he has to do is ask, and the inevitable answer will invariably be 'yes.'

Tracks:

1.) Yeah

2.) Proceed

3.) Sentinel

4.) P.L.W.3-D

5.) So Stoked

6.) Calling Me

7.) Glowstick

8.) Sand Castle

9.) Laser Cave

10.) Beamrider