from the CD Disaro, Disaro Records, 2010
Distance often impacts the vibrations of music, regardless of if one is speaking about a dissociated emotional ambiance or the literal void between sound waves and your ears, fashioning an emotional response in humans that people typically either take a lot of pleasure in or dislike intensely; I’ll bet you can guess what camp I fall into. A running theme in many “witch house” tracks is a severe sense of detachment, found in both the minimalist beats and, if included, the blasé vocals; to my surprise (a hipster I am not), a chunk of this scene comes from right here in the Denver area, including the band for which the genre gets its name, Modern Witch. This track is the easy highlight for me on their somewhat uneven debut album: pummeling beats, stabby synths, evil effects-laden keys, and the singing, which shows up just enough to hit the correct notes, and not an iota more. Everything about this song resonates for me, perhaps most of all their decision to skew the equalizers in such a way as to give the impression of being recorded in a tunnel, propelling us alongside their dark, neon-lit nightmare party.
from the 7” single, self-released, 2010
While many of those who currently set about re-vamping the varying styles of ‘80s music have mainly chosen to focus on driving synth pop or dark new wave, a handful of others are taking a broader view, incorporating elements found in all sorts of Top 40 fodder from back then (i.e. Phil Collins, Stevie Nicks, Dire Straights, et al.). One of my absolute favorites of the moment that falls into the latter category is L.A.’s own Teen Inc, who manage to integrate a true panoply of ideas within each track they craft; this enigmatic cut plays with all kinds of influences, a little Toto here, some Belinda Carlisle there, maybe some Peter Gabriel or the softer side of Prince for good measure. These guys bring a good name to the over-used concept of “pastiche”, in every sense of the word. If you live on the west coast, you can catch them opening shows for Ariel Pink & Os Mutantes in less than a month, a show which will deliver the goods---trust me! To my knowledge, these cats are still unsigned, but I doubt it will remain that way for long…I certainly hope not anyways, because a full-length LP simply needs to follow.
from the LP At Echo Lake, Woodsist Records, 2010
It’s easy enough to sit around and complain about how crappy Top 40 music is right now, but it’s more fun to expend that same amount of effort (or more) digging for & discovering current stuff that happens to be great, even if the goods aren't getting the adulation they deserve. Singer and guitarist Jeremy Earl is a good example--- this man is busting his ass, helping create captivating tunes for our savaged minds with the Brooklyn crew Woods & helping others to do the same by running Woodsist Records; the DIY spirit flows strong in this one. The mashup of dissimilar noises proves to be enthralling rather than confusing (that sitar paints all the right colors), thanks largely to an underpinning in simple, pop-savvy melodies & hooks; also, his tender vocals match well with the gently witty lyrics, “…up in the air, for a time, let’s go; it’s not what it seems, but that feel lets you know…in an hour or so, I’ll let you know, in an hour or so; as the hours let go, time fading lines, creeping into control…” This one brings the autumn vibes so good…
from the LP Causers of This, Carpark Records, 2010
Ever wondered what house music would sound like if you slowed it down by about half? There’s no way to be sure, but I’m guessing that query may have been a part of the catalyst which resulted in many of the gauzy musical wonders loosed upon the world over the last couple years; either that, or Chazwick ‘Toro y Moi’ Bundick and fellow South Carolinian beach buddy Earnest ‘Washed Out’ Greene got mad baked one hazy afternoon and dropped the tempo (accidentally or purposefully) on the turntable. Whatever forces served as the impetus for their sonic experiments, we can all rejoice in the resulting synth-gasms they gave birth to; Greene’s dazzling Life of Leisure made numerous year-end lists in 2009, and I have no doubt that Bundick will follow along this year, as his album here ably carries that mellow torch forward a few more steps (nice Cybotron-esque cover art as well). Having also grown up at the beach, I immediately connected to these waste-y sounding vibes, like waking up on a soft flannel blanket to the sound of crashing waves after an all-night bonfire. Indeed, now we can all party a little harder on Saturdays, knowing that we have sublime music like this to help ease us back down to Earth the morning after…
Live @ Red Rocks, Morrison, Colorado, 9-26-2010
Fifteen or twenty years ago I would’ve been (or at least acted) rather nonplussed by a “Touch of Grey” encore, considering Deadheads my age weren’t supposed to like this track due to its getting so much play on MTV & VH1, and with it still being something of a catch-all love for fairweather fans of the band---but fuck that, it sounded just right (albeit, we were predicting a “U.S. Blues” encore, and are still surprised they didn’t pull one out in 3 nights up there…)!! We caught the last evening of Phil & Bobby’s trio of shows up at Red Rocks with their latest post-Dead tribe, dubbed ‘Furthur’, made up of some very familiar faces including the irrepressible Jeff Chimenti on keys, and it was my first time seeing guitarist John Kadlecik outside of his work with DSO…he continues to nail the essence of Jerry in an organic way (him singing on “He’s Gone” is surreal and amazing). It was a great show, both sets, and the crowd a fittingly stoned, happy (smelly) barefoot mess, smiling & dancing hippies as far as the eye could see. That night we were treated to a moon rise over the Denver skyline that had trippers melting into puddles of radiant bliss, the perfect closer to another season of concerts at the inimitable Rocks, our eighth year, and that mountain magic remains just as strong!
from the EP oOoOO, Disaro Records, 2010
To quote Beck, a true master of the headiest steez, “…I'm just talking about a chorus like, 'Can you feel my bass drum?' That's potent, you can't even mess with that. There's things embedded in that that you can't communicate in any other way…” Can you FEEL my motherfucking bass drum?!?!! This is a ridiculously sultry cover/re-edit of a late ‘80s freestyle track by Nocera called “Summertime Summertime”, and although the original is fresh as well, this redux is some serious panty-droppin’, bottle service-havin’, slo-mo-slangin’ moistness, on the real. Having one of the more cryptic (and difficult to know how to pronounce) names in modern music, oOoOO is actually Chris Greenspan of San Francisco; this newer style of eerie electronics, essentially a mashup of hip-hop beats and coldwave synth-pop, is being called “drag” and “witch house” in the press---both of which suck as names. How about calling it “Ouija beats”? Just kidding. Whatever you want to dub this, it’s hard to deny those macabre & detached, yet strikingly bucolic & melodic, beats! His new EP drops in a week, so don’t sleep… I realize that summer is now officially come and gone for another year, but come on, “…take me, take me to the par-ty, summer time, summer time…” That’s a vibe I can get behind all year!
from the LP Crazy For You, Mexican Summer Records, 2010
Reeking of Coppertone and Mr. Zogg’s Strawberry Sex Wax, the Los Angeles trio known as Best Coast are getting the balance just right, in my humble opinion, so much so that I’ve found myself dreaming about the beach a lot lately, waking up to find their songs rolling over & over in my mind; granted, I do think the surf-rock thing is getting to be overdone now, but these cats are the cream of that crop, so don’t punish ‘em for it. Truth be told, I spent more time waxing my board than I actually did surfing as a kid, considering we don’t get proper “wake” in southern Florida, more like ripples (with the glaring exceptions of hurricanes and tropical storms, which always managed to get even the older surfers coming out of the woodwork). Anyways, this album has sufficiently invaded my headspace, in a good way---it’s like the Pixies meets Rocketship on a longboard in the middle of the Pacific Ocean.
from the LP No Más, Luaka Bop Records, 2010
Yessssssss… This is the kind of musical pastiche that gives one hope for the future, full of brawny breaks & swirling organ, fuzzy flanged-out guitars playing alongside one determined-ass bassline, everything rolling together flawlessly like those old school green-leaf blunts. Yes, you are listening to samples and loops galore, but not clipped from other sources like duo Javelin become famous for after dropping their minty fresh Jamz & Jemz mixtape--- nope, on this LP they played all the music you hear being sampled themselves, which has a rather twisted ironic beauty to it, don’t you think? Any reviewer that doesn’t catch the heady soulful fusion that’s happening here should find themselves a new job; it’s telling that David Byrne’s label Luaka Bop snatched them up quickly. The perfect soundtrack for a hazy late summers day, look out for the mind-melting guitar solo that snarls to life around 1:40 into the track, it may just push you one toke over the line, so to speak (don’t say I didn’t warn ya)…
from the EP Bright City Lights, Tuff Em Up! Records, 2010
I realize this song made the rounds on a grip of blogs a while back, but it’s so fucking silky smooth that it deserves to stay in rotation all damn year in my opinion! With a thundering bassline that would make Patrick Cowley proud & and synthesizers tastefully mangled slop-chop style, this burner is a rather ambitious and all around epic affair for someone’s debut release--- and goddamn right too, because it’s clear that Chilean artist Barretso isn’t fucking around with any foreplay, he’s going directly for the money shot. Not only does he serve as the composer & producer of the tracks on this EP, he’s the one singing as well, doing a bangup job at channeling that coke-fueled anthemic ‘80s vibe which lays at the root of this entire ‘chill-wave’ explosion. There is a forthcoming full length slated for release later in the year, and gauging by the tracks he has posted on his myspace page, it’s not going to let up on the velocity at all; buckle up and pump this one on the highway for full effect...
from the LP Melted, Goner Records, 2010
This kind of fuzzed out garage rock revivalism, which was largely incited by the coming of the White Stripes at the end of our last century, shows no sign of letting up anytime soon, and few do it as well as Ty Segall, a young man who really does this genre justice by his lo-fi, high-on-drugs (exclaiming in one song 'I'm on drugs, Lemmy from Motorhead gave em to me') approach to the music. Although a grip of crews playing this type of lumbering mess often come off as insincere, or at the very least like they are merely going through the motions, Mr. Segall comes across as if he is playing to save his stoned soul…I fucking FEEL you man!!! Coming to life on a shoestring acoustic hook and tinker-toy drumming, it could almost be precious--- well, that is until Ty opens his mouth: full of pouting Jagger-esque (perhaps more accurately, Johansen-esque, although he was merely aping Mick in the first place I suppose, but I digress…) strut one second, then collapsing into shambling Mascis-ian brokenness the next. Segall’s sharp ear for a catchy melody is affirmed in spades here, and he fucking knows it, turning the bridge of a chorus (starting around 1:10) into an extended coda because it’s so goddamn addictive; frankly, he could’ve rode that last bit into the ocean for another 10 minutes or so and we’d still be begging for more! Bring it motherfucker!!
from the LP Suburban Tours, Olde English Spelling Bee Records, 2010
Sounding like a mix between Ariel Pink, Ducktails & early Ween, with a healthy dose of krautrock (ala Electric Sandwich) thrown in there, all melting together on a sunny summer’s day, this lo-fi gem of an album comes to us from the capable hands of Texas native Joe Knight; now a resident of the Bay Area, this album was an extension of him looking around at all the changes which had taken place, (in his own words) “…I had just moved to San Franciso — which is a real, dense city — from Dallas — which is really just a suburb — so I was probably thinking about the built environment around me and how different it was now, and how fucked up it was then…” Although some have tried grouping him into the chill-wave set, I don’t think those comparisons pan out at all--- particularly given the fact that he’s openly admitted to ripping off Chic for much of this album, rather than trying to ape elevator music like some would have you believe. Whatever the inspiration, it’s sloppy in all the right ways, like those door-chimes that sound their lazy call when you enter a liquor store: woozy, weathered & letting one know that good things lay before you…
from the LP Innerspeaker, Modular Recordings, 2010
Picking the first post which would fall into this new decade of ours became an inordinately easy decision upon my initiation unto the new album from Aussie psych rockers Tame Impala---in my stoned opinion, these kids (in their early 20s) are bringing the greatest vibe around, heady far beyond their years. Their earlier EP displayed an astute sense of history cut with meticulous attention given to ambiance, though I surely didn’t expect an album that was solid front to cover, but that’s exactly what these remarkable blokes have given us here. They wear their influences on their sleeves (Todd Rundgren, krautrock, Jefferson Airplane, the Byrds, maybe Camel…), yet the music comes off sounding amazingly fresh---albeit not “new” mind you, as their consideration for recreating a vintage feel makes Elephant Six bands sound like half-assed charlatans; in fact, the only other crew I can think of that comes this close is Dungen. I don’t know what’s got into the water supply down under lately (re: Wolfmother & these guys, plus chill wave acts Cut Copy & Knightlife), but it’s fuckin’ working for me mates!!
from the CD Disaro, Disaro Records, 2010
