One of the coolest new bands on the indie scene in my opinion is Santa Barbara’s Gardens & Villa. They’ve harnessed this mind bending sound that pushes limits without being unrelatable or unlistenable. Quite the opposite actually. Their self-titled debut dropped last month, I’m expecting nothing but big things from these guys.
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One of the coolest new bands on the indie scene in my opinion is Santa Barbara’s Gardens & Villa. They’ve harnessed this mind bending sound that pushes limits without being unrelatable or unlistenable. Quite the opposite actually. Their self-titled debut dropped last month, I’m expecting nothing but big things from these guys.
Austin natives Okkervil River is possibly one of the most underrated bands in the indie scene. They are the rare kind of band that can take a detour well into their career and succeed resoundingly. Known for a violently passionate take on indie rock, they introduced their brilliance with a carefully constructed debut in 2002; they introduced a zeal that was not easily mistaken. Nine years down the road, where many (and most) bands easily would find themselves in a developmental rut, quickly change directions and fail, Okkervil River has taken a well-loved sound and concept and revamped it. Their most recent release, I Am Very Far, is conceptually different but arguably more powerful than their first two releases. They still have a lot to offer and they aren’t holding anything back. As steadfast as the entire album is, I’m surprised it hasn’t gained much more hype over the past few months. It’s sturdy to say the very least–a canon ball record both lyrically and instrumentally. It’s audacious, daring and experimental in all the right ways. Honestly it almost feels pointless to be writing about it…stop wasting your time reading this and purchase the album.
1. The Valley
2. Piratess
3. Rider
4. Lay of the Last Survivor
5. White Shadow Waltz
6. We Need a Myth
7. Hanging from a Hit
8. Show Yourself
9. Your Past Life As a Blast
10. Wake and Be Fine
11. The Rise
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Austin natives Okkervil River is possibly one of the most underrated bands in the indie scene. They are the rare kind of band that can take a detour well into their career and succeed resoundingly. Known for a violently passionate take on indie rock, they introduced their brilliance with a carefully constructed debut in 2002; they introduced a zeal that was not easily mistaken. Nine years down the road, where many (and most) bands easily would find themselves in a developmental rut, quickly change directions and fail, Okkervil River has taken a well-loved sound and concept and revamped it. Their most recent release, I Am Very Far, is conceptually different but arguably more powerful than their first two releases. They still have a lot to offer and they aren’t holding anything back. As steadfast as the entire album is, I’m surprised it hasn’t gained much more hype over the past few months. It’s sturdy to say the very least–a canon ball record both lyrically and instrumentally. It’s audacious, daring and experimental in all the right ways. Honestly it almost feels pointless to be writing about it…stop wasting your time reading this and purchase the album.
1. The Valley
2. Piratess
3. Rider
4. Lay of the Last Survivor
5. White Shadow Waltz
6. We Need a Myth
7. Hanging from a Hit
8. Show Yourself
9. Your Past Life As a Blast
10. Wake and Be Fine
11. The Rise
It’s hard to believe that Philadelphia’s The War On Drugs’ sophomore album Slave Ambient is a product of 2011. It masterfully sports a bluesy Americana appeal that seems lost on this generation. Frontman Adam Granduciel’s genius seeps through the lyrics and rhythms even without former bassist and breakout soloist Kurt Vile. Despite the obvious Dylan and Springsteen comparisons, The War On Drugs has found a groove and a good one at that.
The album is a nostalgic thrill from start to finish, opening with summer-shower-soaked bluegrass jam “Best Night.” It twists through several dimensions of sound, allowing the album to roll over smoothly whilst still maintaining an element of exhilaration. Every nook and cranny is occupied by something sonic, be it harmonica or a droning echo. This layered effect is also what time-warps it. It steers through rock ‘n roll classism and collides with a ’70s pop influence. Songs like “It’s Your Destiny” and “City Reprise #2” manage to feel elevated yet simultaneously grounded.
The album exhibits a range that is difficult to put to words; you have to listen to it to understand. Each track is different but in a really good way. It’s a solid album that ought to outshine its predecessor.
1. Best Night
2. Brothers
3. I was There
4. Your Love Is Calling My Name
5. The Animator
6. Come to the City
7. Come for It
8. It’s Your Destiny
9. City Reprise #2
10. Baby Missiles
11. Original Slave
12. Black Water Falls
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It’s hard to believe that Philadelphia’s The War On Drugs’ sophomore album Slave Ambient is a product of 2011. It masterfully sports a bluesy Americana appeal that seems lost on this generation. Frontman Adam Granduciel’s genius seeps through the lyrics and rhythms even without former bassist and breakout soloist Kurt Vile. Despite the obvious Dylan and Springsteen comparisons, The War On Drugs has found a groove and a good one at that.
The album is a nostalgic thrill from start to finish, opening with summer-shower-soaked bluegrass jam “Best Night.” It twists through several dimensions of sound, allowing the album to roll over smoothly whilst still maintaining an element of exhilaration. Every nook and cranny is occupied by something sonic, be it harmonica or a droning echo. This layered effect is also what time-warps it. It steers through rock ‘n roll classism and collides with a ’70s pop influence. Songs like “It’s Your Destiny” and “City Reprise #2” manage to feel elevated yet simultaneously grounded.
The album exhibits a range that is difficult to put to words; you have to listen to it to understand. Each track is different but in a really good way. It’s a solid album that ought to outshine its predecessor.
1. Best Night
2. Brothers
3. I was There
4. Your Love Is Calling My Name
5. The Animator
6. Come to the City
7. Come for It
8. It’s Your Destiny
9. City Reprise #2
10. Baby Missiles
11. Original Slave
12. Black Water Falls
Brit-pop sensation Ellie Goulding has been blowing up the music scene since before her debut album “Lights” even officially hit the scenes, with songs remixed by the likes of Bassnecter, Jakwob and others. Her sound, whether remixed or raw, is entirely catchy. There’s something about her, a sort of girl-next-store vibe that makes her awesome especially when you see her live. She kicks ass but manages to be adorable at the same time. “Lights” was officially released in March but I recently added this song to my summer playlist. It’s got those feel good vibes that are hard to shut down (unless you have an affect disorder).
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Brit-pop sensation Ellie Goulding has been blowing up the music scene since before her debut album “Lights” even officially hit the scenes, with songs remixed by the likes of Bassnecter, Jakwob and others. Her sound, whether remixed or raw, is entirely catchy. There’s something about her, a sort of girl-next-store vibe that makes her awesome especially when you see her live. She kicks ass but manages to be adorable at the same time. “Lights” was officially released in March but I recently added this song to my summer playlist. It’s got those feel good vibes that are hard to shut down (unless you have an affect disorder).
San Francisco’s Painted Palms presents a sort of ethereal ambience that could make you question the existence of gravity. Their recent EP Canopy is seething and ether-infused. It is a deliriously delicious escape, dreamy and fantastical. There’s a vague sort of element of audacity in the vocals that bounce against echoes and claps and high pitched synth. Its electro-pop sound is akin to that of Animal Collective but at times has more of a chill-wave feel. The trio has also released covers and remixes of indie essentials such as Yeasayer, Dirty Projectors and Starfucker. Their sound is carefully mastered and the EP is well constructed. Its escapist fizz is perfectly tailored for a summer day off.
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San Francisco’s Painted Palms presents a sort of ethereal ambience that could make you question the existence of gravity. Their recent EP Canopy is seething and ether-infused. It is a deliriously delicious escape, dreamy and fantastical. There’s a vague sort of element of audacity in the vocals that bounce against echoes and claps and high pitched synth. Its electro-pop sound is akin to that of Animal Collective but at times has more of a chill-wave feel. The trio has also released covers and remixes of indie essentials such as Yeasayer, Dirty Projectors and Starfucker. Their sound is carefully mastered and the EP is well constructed. Its escapist fizz is perfectly tailored for a summer day off.
Since they first stepped foot onto the scene in 2006, Seattle’s Band of Horses has been a difficult outfit to compete with. An indie essential, they have a sound that is not easily missed; gentle and mournful what they have established is a comfort zone. Literally. You can’t help but feel at home listening to them. Their third effort, Infinite Arms, was released last year. They’re not pushing the envelope in any way; in fact they embody a sort of timelessness in that they don’t seem to age. Many bands tend to try too hard after the first effort and slump and then seek a sort of redemption with later albums if they don’t give up all together. Band of Horses has yet to experience this because they have yet to put anything out that deviates from what they’ve already established. And honestly, they don’t need to try. Their lyrical mastery is a driving force of the album. Each song, intricately contagious and melodically twangy, is charged with a subtle optimism that has the power to set the tempo for your day. Infinite Arms, though it received mediocre reviews, accused of a lack of oomph, is every bit a masterpiece as their previous efforts. It may still sit in the shadow of Cease to Begin, but it is not one to be ignored. It’s less arid and spacey than the first two, with more orchestral reverb and a rock sensibility to fill the spaces that left earlier songs hollow (even though that in itself is why many of their songs were so poignant to begin with). Songs like Blue Beard and the title track feel like they could fit right in with either of the first two albums while songs like Dilly and Laredo display much more of a pop appeal. If you missed this album when it was released, it’s not too late to pick it up. Listen to it when you fall asleep. You’re almost guaranteed good dreams.
1. Factory
2. Compliments
3. Laredo
4. Blue Beard
5. On My Way Back Home
6. Infinite Arms
7. Dilly
8. Evening Kitchen
9. Older
10. For Annabelle
11. NW Apt.
12. Neighbor
FULL POST
Since they first stepped foot onto the scene in 2006, Seattle’s Band of Horses has been a difficult outfit to compete with. An indie essential, they have a sound that is not easily missed; gentle and mournful what they have established is a comfort zone. Literally. You can’t help but feel at home listening to them. Their third effort, Infinite Arms, was released last year. They’re not pushing the envelope in any way; in fact they embody a sort of timelessness in that they don’t seem to age. Many bands tend to try too hard after the first effort and slump and then seek a sort of redemption with later albums if they don’t give up all together. Band of Horses has yet to experience this because they have yet to put anything out that deviates from what they’ve already established. And honestly, they don’t need to try. Their lyrical mastery is a driving force of the album. Each song, intricately contagious and melodically twangy, is charged with a subtle optimism that has the power to set the tempo for your day. Infinite Arms, though it received mediocre reviews, accused of a lack of oomph, is every bit a masterpiece as their previous efforts. It may still sit in the shadow of Cease to Begin, but it is not one to be ignored. It’s less arid and spacey than the first two, with more orchestral reverb and a rock sensibility to fill the spaces that left earlier songs hollow (even though that in itself is why many of their songs were so poignant to begin with). Songs like Blue Beard and the title track feel like they could fit right in with either of the first two albums while songs like Dilly and Laredo display much more of a pop appeal. If you missed this album when it was released, it’s not too late to pick it up. Listen to it when you fall asleep. You’re almost guaranteed good dreams.
1. Factory
2. Compliments
3. Laredo
4. Blue Beard
5. On My Way Back Home
6. Infinite Arms
7. Dilly
8. Evening Kitchen
9. Older
10. For Annabelle
11. NW Apt.
12. Neighbor
Britpop sensations Egyptian Hip Hop have only been on the scene for a year and yet already seem to be an adequate illustration of the current state and future of music. When they first hit the scene, they were the perfect embodiment of what was in vogue in Europe years ago: electronic-indie made more for the sake of movement and a physical experience than anything else. In February of this year they released an EP, stripped of their electronica appeal, moving onto something much more newwave synth-based than ’80s pop inspired. The music they’ve officially released, especially as of this year, is interesting because it does not cling to any particular era of influence. It is newwave but not in a way that tries hard to sound like it belongs in the future. It’s sort of stragly and effortless in such a way that youths of the current time can find it especially relatable. It’s got a sort of free-spirited don’t-care-what-you-think-of-us sort of sound and ultimately that’s what will win you over. At first if might sound cheap concoction of The Rapture and Does It Offend You, Yeah? but it just might eventually nudge its way into favorites.
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Britpop sensations Egyptian Hip Hop have only been on the scene for a year and yet already seem to be an adequate illustration of the current state and future of music. When they first hit the scene, they were the perfect embodiment of what was in vogue in Europe years ago: electronic-indie made more for the sake of movement and a physical experience than anything else. In February of this year they released an EP, stripped of their electronica appeal, moving onto something much more newwave synth-based than ’80s pop inspired. The music they’ve officially released, especially as of this year, is interesting because it does not cling to any particular era of influence. It is newwave but not in a way that tries hard to sound like it belongs in the future. It’s sort of stragly and effortless in such a way that youths of the current time can find it especially relatable. It’s got a sort of free-spirited don’t-care-what-you-think-of-us sort of sound and ultimately that’s what will win you over. At first if might sound cheap concoction of The Rapture and Does It Offend You, Yeah? but it just might eventually nudge its way into favorites.
