Today, Friday, September 22, marks the official end of summer and leaves us approximately 77% of the way through 2017. Since we haven't posted since February (hey, life happens!) it is fair to say that a lot of really good music has been released in the last 9 months that desperately needs our attention.
With this, I'm not going to try to catch you up on everything or point out the obvious stuff (that's what our year-end lists are for and you've probably already found Kendrick, Future Islands, P.TM Ryan Adams, Spoon, FJM... etc.), but here are a few tracks and albums that may have slipped past you that, in my opinion, are worth your attention:
Fitz and the Tantrums' new record, More Than Just A Dream, is upon us and I couldn't help but share this single because it's catchier than mononucleosis. Maybe it's Fitz's anachronistic hair cut. Maybe it's their stylish and colorful music videos. Maybe it's the frenetic way Noelle always shimmies around on-stage while banging a tambourine on her gyrating hips (especially eye-catching when done Tina Turner-style in sequins dresses). Maybe it's the fact that they were and still are, perhaps, one of the most dynamic live bands I remember seeing at SXSW 2011, let alone at the entire Dangerbird Records showcase. Maybe it's my fascination with their refusal to feature guitar in their songs, almost as a personal band challenge to separate themselves from every other band on the planet and to find creative ways to fill out their sound. Or maybe, it's simply all of the above. "Out Of My league" sounds like a bit of a departure from some of their previous efforts that were dripping wet with retrosexuality and I'm not quite sure about this indie-poppish direction in which they're headed. Is this a reinvention of sound, image, concept, quality? Noticeably absent: the blue-eyed neo-soul elements or even a modicum of that brass section I became accustomed to from the "MoneyGrabber" days. Who knows, but for now I really dig this track. Not enough to move to Los Angeles and start my own tantrum, but enough to recommend "Out Of My League" to you.
I have been captivated by this album for the last two weeks or so now. Ever since I heard Matthew Houck’s “Wolves” sometime in late 2007 or early 2008, I have been loosely following Phosphorescent, but the last album unfortunately didn't warrant a review, so I think up until now, Phosphorescent has gone undiscussed on QCM. On Easter Sunday 2010 at The Independent in San Francisco (where I'll be tonight to see Portugal. The Man), White Hinterland and Bon Iver opened (yes, opened) for Phosphorescent. Most of the people in the audience were there for Bon Iver, specifically, and by the end of Phosphorescent’s set, most people had cleared out due to Houck’s shushing of the increasingly noisy Bon Iver following turned bar scene in the back. The gabbing during Houck's set was in stark contrast to the pin-drop silence Bon Iver was afforded. I hate when people talk during concert sets in small venues, so I have always had a somewhat special appreciation for Houck’s tender songwriting and fragile vocals, despite his hit-or-miss albums.
To me, Muchacho is Phosphorescent's most well-rounded album. The lyrics and songwriting across the board just seem more thought-out and less forced, albeit occasionally borrowed. “The Quotidian Beasts” seems to follow the chord progression of Chris Isaak’s "Wicked Game" – I even found myself mouthing “And I, want to fall in love” during the chorus build-up – and the single "Song for Zula" (below) leads in with a paraphrased reference to the infamous Cash-Carter "Ring of Fire" opening lines in singing "some say love is a burning thing / that it makes a fiery ring." Both are great tracks, and with each, the song takes on new and interesting shapes independent of the nods. My favorite of the tracks is "Ride On / Right On." With its head-nodding charisma and simplicity, "Ride On / Right On" paints a picture of what I view as a wild/fun, but ultimately unfulfilling, life and times. The core of Phosphorescent's sound is the facts that very few vocalists sing love-loss more convincingly than Houck, which may be his single most compelling attribute and shines through on tracks like "Muchacho's Tune," "Terror in the Canyons," and "Down to Go" – decrepit & touching enough that you just want to reach through the speakers and give the guy a hug. Well done on this one.
March may be a little early for summer, but it is never to early for summer jammy jams. The summer sounds come early with the Soft Swells' self-titled release. The beachy-vibed indie rock is quite popular these days, and in some respects the Soft Swells could be considered California's response to Florida's Surfer Blood, with less reverb and more appealing vocals. Overall the album amounts to a well-crafted collection of pop songs, with shimmering vocals and rhythmic drums. Such attributes shine through on "Every Little Thing" and "Shake it Off." While every song is quality, there isn't a dominent single (in my mind) that needs listening to over and over again. More likely, one can toss this on with a couple other breezy indie pop albums, such as the latest Tennis, Drums, or Young Friends and nod along, imaging bare feet in the sand, sun on the face, and an ass in a comfortable folding chair. The combination of Brooklyn and Los Angeles roots reeks of hipster, but the tunes transcend any niche, too-cool-for pop culture genre or stylization. The Soft Swells bring great music and good times.
The long awaited, much anticipated debut music video for Scotch Howard's single "Hit the Wall" has hit the airwaves. We discussed the tantalizing elements of Scotch Howard's psychedelic electro-rock release some time ago here, and even still the album hasn't lost its je ne sais quoi. Shot in Los Angeles and directed by Scotch Howard himself, the video takes you on a psychedelic journey into the depths of a... rambunctious backyard dance party. The video is a winner -- not only capturing the trippy, hand-clappin' drive of the "Hit the Wall" song, but the feel-good tone of the entire album as well. Have a look and listen...
How have I never heard of the Mighty Fine? I feel like my friends have let me down. "Black Train" (mp3) has that down and dirty garage soul sound somewhere between the Dirtbomb's Ultraglide in Black and the Black Joe Lewis. This New Orleans band doesn't have much of a web presence, but apparently it's been 5 years since they released their debut EP (which I just ordered). The good news is that the full length album, Get Up To Get Down, should be released this year. I can't wait to hear it.
"Mustang Ranch" may not have been my favorite song off Black Joe Lewis & The Honeybears' Scandalous—I preferred "Booty City" and "You Been Lyin'"—but this animated video is pretty damn awesome. It really captures the song's casual humor and sass. Combined with the red hot version off DJA's mixtape, featuring Project Pat and Juicy J, and this song quickly shooting up my frequently played list.
Let the synth-driven dance rock wash over you like smuggled-in beer at a Japantown karaoke bar. The Wombats nail it with this video for "Tokyo (Vampires and Werewolves)" that reeks of good times and high-risk drug abuse. I feel for the band manager that has to ultimately (and unsuccessfully) rein in the snow-influenced mania, but at the same time, you just want the song to keep going to see what madness unfolds next. The Wombats are generally fun and uproarious, but they consistently write pretty good songs that sound like a lot of other noise. Personally, I think this video sets a pretty high watermark, but the rest of their output really ain't bad either. Give a spin, have a listen... This Modern Glitch is available now.
The seemly constant stream of good music coming from ex-Longwave band members is making the demise of the band a lot less disappointing. Between the feel good rock n' roll of Mikey Jukebox's debut last year and now with the catchy indie rock of Falcon, I really can't complain. I love the way "Say Goodbye" (mp3) pulses along with echoing drums and fuzzy atmosphere, punctuated with a ringing guitar. Plus it was fun to try and spot all the Star Wars action figures in the video that my friends and me used to have.
Portland locals, the Ravishers make laid-back stuttering indie rock I dig. "Underachievers" lurches forward with a Spoon worthy stop-start beat. Plus, the video features one of my favorite bars, the Secret Society Lounge.
They'll be celebrating the release of their self-titled debut at Dantes on April 7. You can bet I'll be there to check it out.
Tom Williams & The Boat's "Too Slow" is macabre lament, with a pounding drum that builds into riotous cacophony. Their dark acoustic folk rock reminds me a bit of the much loved The Builders & The Butchers. They seem to have a similar Gothic world view. I look forward to hearing the rest of the album.
While I wouldn't mind if The Dirtbombs just kept releasing Ultaglide in Black over and over again, I like just about everything they've released and will listen whatever catches their whimsy. Their upcoming album, Party Store, consists entirely of covers of classic Detroit techno tracks. Wha? Well, if any band can make me listen to techno it's The Dirtbombs. You get a taste on the video for "Sharevari" (Basically an animated version of the original version by A Number of Names).
If you like balls out rock n' roll you should probably check out this new documentary made by directors Joseph Patel and Aaron Brown for VBS. It covers a lot of my favorite bands. Even Jay Reatard (RIP) makes an appearance. Plus, you don't need to go hunt down some obscure art theater see it. Just watch the full-length version below.
I've been a fan of The Dandy Warhols for a long time. Although I definitely loved and listened to Thirteen Tales from Urban Bohemia the most, every album has a couple songs I latch onto. Although I've seen them a couple times, I've actually never seen them in Portland. Lucky for me, they are playing the Crystal Ballroom on Sunday with Blue Giant. It should be a great show, especially since they are out on tour promoting their recently released greatest hits album, which actually does actually contain many of my favorite songs. Of course, being the Dandies you can expect them find plenty of room to jam and bliss out on hypnotic rhythms.
"This Is The Tide" is the only new song off The Capitol Years 1995-2007.
In case you were wondering what the QuickCritMusic holiday party was going to be like this year...
Your Youth's "Diamond" (mp3) makes for a solid party jam, with lyrics about girls in the summer, a fun upbeat rhythm, and just enough buzz for the beach. Actually the entire Aloha EP is worth checking out if you like your fuzzy pop spiked with the occasional punk riff.
This has been a good year for The Black Keys. Judging from how fast their shows sell out, it seems like they're finally being rewarded for consistently recording and performing bad ass blues and rock n' roll. Releasing their best album in years must have had something to do with it, since they always have been flat-out fantastic live. While they've easily released enough great songs to fill out a top 10, or even a top 25, I finally narrowed it down to my top 5.
The Breaks (The Big Come Up)
The song that made me a fan. Plus, the guitar struts and squawks like a chicken.
Remember When (Side B) (Attack & Release)
Side A is solid, but the destructive riffs set Side B apart.
Tighten Up (Brothers)
This hit off Brothers pulses with a yearning and soulful beat. It downright swings.
10 AM Automatic (Rubber Factory)
A blistering rock n' roll single that dares you to stand still from the very first note.
Hard Row (thickfreakness)
His howl alone seals its spot at the top, but the buzzing and slashing guitar doesn't hurt.
I made a resolution this year to get back into researching NYC-based bands, so I'm happy to say I'm kinda staying true to it. Of course it helps that some of the best music to come out this year just so happens to hail from the greater NYC area. Enter one of the coolest things I have ever seen happen on a NYC subway train, let alone one on the way to the BK. So apparently, Atomic Tom had their instruments stolen recently. In the spirit of impromptu shit, they decided to hop on the B train en route to Brooklyn and film "Take Me Out" (album version) in one take using nothing but their iPhones as instruments much to the surprise of random commuters. I'm not an iPhoner, so I'm not entirely sure if what you're about to see is mind-boggling to the point of WTF, but I think the whole thing is pretty sick. "Take Me Out" is definitely one of my favorite "Top 'Getting Ready' Songs of 2010" already, so this video just makes this 100% live clip 100% more awesome. The only thing that's missing is the obligatory crazy homeless guy rocking out in the corner... or an Apple representative handing them a big fat check post-performance for the shameless iPhone plug and a half. (Oh, and to the band member on the farthest right... have you ever worked at Endless Summer Tacos in Williamsburg? I think you or your doppelganger gave me extra salsa verde once.)
Parsley, sage, rosemary and thyme... a pocket full of rubbers and just a hint of autotune?
If you're like me and you were raised on Simon & Garfunkel's music, then you'll enjoy this. If you're like me and you are a big fan of Chris Rock and/or Tracy Morgan, then you'll friggen love this. My parents were bent on teaching us that Art Garfunkel always reigned supreme, while Paul Simon came in at a very distant second. After this video, I think it just might be a tie.
Jack Skuller apparently won a talent show with "Love Is A Drum", which led to him recording it with the producer who recorded the Ramones and Misfits in the 80s and 90s. He even got Nada Surf's Ira Elliot to play drums, although he was apparently dropped for the video in favor of a shirtless tween. If I was 14 I would be amped to have written a retro pop song that was just a couple waves of distortion short of the Raveonettes. While it is pleasantly simple and catchy, it's a little too clean and sparkly for my taste. I'll keep an ear out for when he has discovered the secrets of the Big Muff.
