MAY 5, 2015 (WEEK
# 18)
1.
ACTRESS-“DJ-KICKS”
(5/5)
2.
AND SO I WATCH YOU FROM AFAR-“HEIRS”
(5/5)
3.
THE APARTMENTS-“NO SONG, NO SPELL, NO
MADRIGAL” (5/5)
4.
BAASCH-“CORRIDORS” (5/5)
5.
BEST
COAST-“CALIFORNIA NIGHTS” (5/5)
6.
PETER BRODERICK-“COLOURS OF THE NIGHT”
(5/5)
7.
MIKAL CRONIN-“MCIII” (5/5) (***MIKAL CRONIN returns with MCIII. Marked by the lush arrangements,
stunning melodies, and deeply personal lyrical work for which Cronin is now
known, the album is also a deliberate attempt to simply "go big." As
he did on his self-titled 2011 debut and 2013's MCII, Cronin arranged and
played nearly all of the record himself, including the tzouras, a traditional
Greek string instrument he heard and subsequently bought while on tour in
Athens. There's French horn, saxophone, and trumpet. There are mood-altering
crescendos and heartbreaking turns-of-phrase, guitars both gorgeous and
pugnacious. No longer satisfied with the sound of "just one string
player," Cronin arranged parts for a full string quartet instead. "It's
a continuation of what I've been trying to do up until now, but I'm finding a
better way to do it," he says. "I'm finding a more successful way of
working those unexpected elements and textures and instruments into a rock
record, of exploring that wormhole and mushing everything together
harmoniously. I like riding the line between the two," he adds. "I
like finding new ways to bring different musical worlds together.")
8.
DAVE DK-“VAL MAIRA” (5/5) (An epic sonic journey crossing classic Kompakt territory, from pop
ambient to tuneful techno and house, Val Maira is not just the extended
follow-up to Berlin's Dave DK's much-adored 2013 Palmaille 12" (KOM
277EP), but a sonic achievement in its own right; a work as delicate as it is
candid, ultimately -- magically -- amounting to so much more than the mere sum
of its parts. Named after a valley in the Italian mountains, Val Maira goes
beyond admittedly impressive production skills, aiming for deeply personal
expressiveness and emotional impact. From the tender dawning of opener
"Fade In" to the solid dance chops of enticingly grooving cuts like
"Smukke Lyde," "Nueva Cancion," and "Coolette,"
the album's preoccupation with the mutual dependencies of harmony and discord
is quickly revealed; as Dave says, "I've tried to create an interlocking
atmosphere of merriment and melancholy for the full duration of an album... I
hope that one can hear a little bit of hope in the tracks, like everything's
going to be fine... Although you can be incredibly creative thanks to limitless
digital means, I think that the biggest challenge lies in creating a link to
something human, generating feelings of warmth that reach and move the
listener." Dave's meticulous planning and development ("before
anything else, I need an idea and a general notion of the development of a
track -- just jamming doesn't work well for me") translate into a deeply
organic sound, apparent on such tracks as "Halma," "Veira,"
and "Whitehill," the latter featuring the distinctive vocals of Piper
Davis (Stimming). One could describe these tracks as both intimate and sociable
at the same time, a rare combination that might also account for the vivid
sonic storytelling present in cuts like "Kronsee" or "We Mix At
Six," the synesthetic retelling of a delayed party at the beaches of Barcelona,
where someone spray-painted the title's vital information on a T-shirt swaying
in the summer breeze. Heavily influenced by film soundtracks, drone sounds, and
organic noise, Dave DK obviously feels very close to the perpetual atmospheric
hum in between sounds, finding hooks in the tiniest nooks and crannies -- and
to hear these 11 tracks lovingly intertwining their inspirations while
seemingly creating nutrient-rich textures and meaningful melodies out of thin
ether remains a riveting experience even after the nth playback.)
9.
DEAD MEN WALKING-“EASY PIRACY” (5/5) (Members of The Damned, The Stray Cats, The Alarm, and
The Living End come together as DEAD MEN WALKING, a super-group unlike any
other, for an album of 15 amazing new songs. The international core line-up of
Dead Men Walking features England’s Captain Sensible of The Damned, Slim Jim
Phantom of The Stray Cats from the USA, Welshman Mike Peters of The Alarm, and
Australian Chris Cheney from The Living End. They are often joined by special guests
including SNL alumni/comedian Fred Armisen, Duff McKagan of Guns N’ Roses, and
many more. Made up entirely of artists who all truly define punk rock,
rockabilly and alternative, Dead Men Walking is a supergroup that actually is
super.)
10. DEATH
& VANILLA-“TO WHERE THE WILD THINGS ARE…” (5/5)
11. EAVES-“WHAT GREEN FEELS LIKE”
(5/5)
12. EMERSON
LAKE & PALMER-“TRILOGY” [DELUXE EDITION 3-CD] (5/5)
13. NILS
FRAHM-“SOLO” (5/5)
14. JACCO
GARDNER-“HYPNOPHOBIA” (5/5)
15. GIANT
SAND-“HEARTBREAK PASS” (5/5) (The forthcoming
album, Heartbreak Pass, by seminal alt-country/rock band Giant Sand marks their
30th anniversary. Individually, each track on the record looms large on its own
but, when heard as one complete offering, you know that you are listening to
something very, very special. The Arizona desert has been a predominate theme
and source of inspiration for Howe Gelb, the indie rock pioneer and frontman
for Giant Sand. The group can also be looked at as Howe’s one-man-band with
many guests and collaborators. The album features Steve Shelly (Sonic Youth),
Grant-Lee Phillips and Ilse DeLange (Common Linnets)
16. HOP
ALONG-“PAINTED SHUT” (5/5) (Hop Along has had
multiple lives. First conceptualized as a freak-folk solo act by Frances
Quinlan, it progressed towards a fuller sound with the addition of Mark Quinlan
on drums, Tyler Long on bass and Joe Reinhart (Algernon Cadwallader, Dogs on
Acid) on guitar. Emerging as one of music’s most unique songwriters, the
captivating vignettes Frances has weaved tell vivid stories of desperation and
weary awakening. Her powerful voice is a spellbinding entity all it’s
own, celebratory and raw, and one that can’t be shaken away. Their new album,
Painted Shut, is their 2nd full-length and first for Saddle Creek (preceded by
the self-released Get Disowned in 2012). However, this release marks
their first time creating as a full-formed entity, arranging everything as a
group. It was co-produced, recorded and mixed by John Agnello (Kurt Vile,
Dinosaur Jr., Sonic Youth, etc.) in the great cities of Philadelphia and
Brooklyn, and incidentally finished in the shortest span of time the band has
ever made anything. Like their debut, Painted Shut is a series of
accounts, a procession of fleeting and repeating characters. However, it
diverges from its predecessor in its close-up, controlled approach (most of the
album features the band recording live), and more focused portraiture.
Whereas Get Disowned calls forth a dreamy collage of protagonists in a tone
that’s often anthemic and surreal, Painted Shut is a grounded, less merciful
image of many struggling adults (and children) in a severe landscape.
Often depicted in Painted Shut are the two lives of legendary (though generally
unknown) musicians, Buddy Bolden and Jackson C. Frank, who were plagued with
mental illness until their penniless deaths. Included are accounts of
more everyday poverty, abuse, greed; and banal, sub-par behavior. Society
is unveiled as a structure that, in reality, was most certainly not built with
everyone in mind. Clearly this is difficult subject matter. Yet the
songs themselves move unencumbered and easily, forming angular pop
anti-anthems, at times jubilant as well as irreverent. Somehow, they are
not sad songs. There is joy, in the abandon of Frances’ unforgettable
voice, in the exulting choruses. One wakes to a sky that is a
bright, ageless blue. It’s morning and so clear outside that multitudes
of lives can be seen, in focus despite the distance. All of this is
viewed through a window sealed with cracked paint that cannot be opened on
either side. That is how we must often view the lives of others,
especially when it comes to people who have lived and gone from this world.
That’s another story. )
17. IVAN
AND ALYOSHA-“IT’S ALL JUST PRETEND” (5/5)
18. JAMIE
XX-“IN COLOUR – PREVIEW WHITE LABEL” (5/5/)
19. LANDSHAPES-“HEYOON”
(5/5) (ON BELLA UNION)
20. MAC
MCCAUGHAN-“NON-BELIEVERS” (5/5) (On May 5,
Superchunk frontman Mac McCaughan will release Non-Believers, his first solo
album under his own name. McCaughan wanted to use the album to explore his
attraction to that early-’80s era of music when punk evolved into something
more introspective, focusing on themes of isolation and eventually turning into
post-punk and new wave. As he puts it, he was thinking about a time when bands
were “using keyboards and drum machines to relate through their music a
disaffection or alienation” from society, school, whatever. The record is about
a fascination with art that could only be made by someone far from where you
are, but who maybe shares the frustrations and awkwardness of youth. It’s about
“the irony that comes with being 16 and having a car but not knowing where to
go in it, or having a keyboard or a guitar and not knowing how to play it.”
McCaughan’s songwriting isn’t limited to sheer nostalgia; it’s also about the
more relatable theme of the point when people who grow up feeling isolated have
to choose if and when they are going to join the mainstream, and about the
emotional journey tied to weighing those options. “What appeals to me is songs
that deal with the messiness and ambiguity that come with any transitional
period,” says McCaughan. Given that McCaughan comes from the indie and punk
rock worlds, he’s always shied away from the perceived hubris of putting out a
record under his own name. “There’s something about it that’s way too ‘look at
me,’” the singer and songwriter admits. However, given the fact that
Non-Believers explores a very personal set of influences, putting out an album
as simply Mac McCaughan for the first time just makes sense. ***Received a
7.5 rating from Pitchfork. SUPERCHUNK frontman MAC MCCAUGHAN delivers his first
solo album under his own name. McCaughan wanted to use the album to explore his
attraction to that early-'80s era of music when punk evolved into something
more introspective, focusing on themes of isolation and eventually turning into
post-punk and new wave. As he puts it, he was thinking about a time when bands
were "using keyboards and drum machines to relate through their music a
disaffection or alienation" from society, school, whatever. The record is
about a fascination with art that could only be made by someone far from where
you are, but who maybe shares the frustrations and awkwardness of youth. It's
about "the irony that comes with being 16 and having a car but not knowing
where to go in it, or having a keyboard or a guitar and not knowing how to play
it." McCaughan's songwriting isn't limited to sheer nostalgia; it's also
about the more relatable theme of the point when people who grow up feeling
isolated have to choose if and when they are going to join the mainstream, and
about the emotional journey tied to weighing those options.)
21. METZ-“METZ II” (5/5)
22. MUMFORD & SONS-“WILDER
MIND” [DELUXE EDITION] (5/5)
23. MY MORNING JACKET-“THE
WATERFALL” [DELUXE EDITION)
(5/4)
24. THE
ORANGE PEELS-“BEGIN THE BEGONE” (5/5)
25. OTHER
LIVES-“RITUALS” (5/5)
26. PALMA VIOLETS-“DANGER IN THE
CLUB” [DELUXE EDITION] (5/5) (While
Danger In The Club, the follow-up to Palma Violets’ barnstorming debut 180,
certainly trades on the primal and joyous hook-laden rock of their debut, their
sophomore LP finds the band with a new sonic looseness, revealing far more
expansive influences than the still-quite-young quartet had on their debut.
This is the sound of a preternaturally talented group of musicians and
songwriters continuing to develop, while keeping their focus squarely on the
type of well-crafted, singalong anthems that have earned them the adoration of
fans and critics. Produced by the legendary John Leckie, Danger In The Club is
a brilliant step forward. What the press had to say on 180: Rolling Stone: best
debuts of 2013; Pop Matters: “2013’s most essential debut”; New York Times:
“raggedly charming”; SPIN: “relentlessly energetic”)
27. PENGUIN
PRISON-“LOST IN NEW YORK” (5/5)
28. THE
PROCLAIMERS-“LET’S HEAR IT FOR TH EDOGS” (5/5)
29. ROSE
WINDOWS-“ROSE WINDOWS” (5/5)
30. TODD
RUNDGREN / EMIL NIKOLAISEN / HANS PETER LINDSTROM-“RUNDDANS” (5/5) (Runddans is the result of the collaboration
between Todd Rundgren, Hans-Peter Lindstrom and Emil Nikolaisen. Its a
spiritual magnusopus, that stands alongside Rundgren's most worshipped trippy
albums of the seventies, fusing his blue eyed soul with Lindstroms disco epics
and Emil Nikolaisens studio trickery into a cosmic mix of soul, synth, pop and
disco. The collaboration was born after Rundgren did a stomping remix of Lindstrom's
track «Quiet Place To Live» in 2012 (Rundgrens first ever remix). The three of
them met in a studio in wintery Oslo that same year, and the music slowly
mushroomed from there. Ideas grew and took u-turns that lead into a violently
beautiful and strange creature. The highly detailed and cacophonous sound of
the album clearly conveys the international feel characteristic of Rundgren's
cutting edge soul of his most studio-driven epic, 1973's A Wizard A True Star
as well as his classics Todd and Initiation. The synthesizers, the
restlessness, the suites, the sonic antics, the search for understanding,
fulfillment and good times: its all here. It also references his lost classic,
the massively spiritual voice-only album Acapella from 1985. This, combined
with Lindstroms signature extended cosmic compositions and Emils psychedelic
sound-quilting, paint the picture of three individuals on a journey towards
musical bliss.)
31. SHAMPOO
BOY-“CRACK” (5/5) (
32. SUPERHEAVEN-“OURS
IS CHROME” (5/5)
33. SUPER
FURRY ANIMALS-“MWNG [2-CD DELUXE EDITION]” (5/5)
34. TURNOVER-“PERIPHERAL
VISION” (5/5) (Virginia Beach’s
Turnover has never been a band afraid of telling the truth. The emotional
honesty poured out over a number of anthemic releases has been a proven formula
of success for the band, but on their sophomore LP Peripheral Vision, the band
treads into deeper water. Working again with Magnolia producer Will Yip (Title
Fight, Circa Survive), Turnover’s latest record shows a band maturing to create
their best effort: an ethereal, reverb-drenched soundscape blending elements of
hazy dream pop and the delicate emo rock of yesteryear. Songs like “Hello
Euphoria” and “Like Slow Disappearing” highlight the new calmer, more subdued
approach to songwriting, matched by Austin Getz’s somber, confessional lyrics
that echo throughout songs as if his words were haunting every measure.
Peripheral Vision solidifies the idea that Turnover is a band with its finger
on the pulse of its generation: growing and learning with every release, but
never failing to provide a relatable, cathartic experience for anyone
listening.)
35. VAN
HUNT-“THE FUN RISES, THE FUN SETS” (5/5)
36. PATRICK
WATSON-“LOVE SONGS FOR ROBOTS” (5/5) (Love Songs For Robots is the highly anticipated fifth
record from Patrick Watson. The new album is the follow up to Watson’s 2012
release Adventures In Your Own Backyard, which received widespread critical
acclaim. The ambitious, evocative new music was recorded at Capitol Studios in
Los Angeles and Pierre Marchand Studio in Montreal. It’s a work of fragile
beauty, offering dramatic flourishes and subtle, atmospheric tension ultimately
anchored by Watson’s singularly stunning voice.)
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