Berated

I was originally going to begin this feature by comparing Katzenjammer’s passion for music to some relentless force of nature, mainly because this Norwegian quartet practically defines in their sound and exuberance what it truly means to enjoy playing music and succeed in doing so. Sometimes though, a video can be more expressive than words, especially when applied to certain circumstances that are too unique for conventional expressions. So, when I watched the four young women of Katzenjammer perform a live version of one of their several strikingly unique tracks, “Ain’t No Thing”, on a boat floating along the Nidelva River in their native Norway (here), it was immediately noticeable to me that it would take quite a bit to deter this group’s creative vision. A surprisingly effective interpretation of post-war blues, “Ain’t No Thing” appears as a very fitting choice for the video, starring a series of bluesy riffs and howling vocals that arise in dramatically poignant form as the four-piece traverses along the riverbank. The studio version, included as a bonus on their debut Le Pop, also happens to boast a sitar, showcasing some startlingly effective usage on a track dominated by a somewhat contradictory style of blues. For potential listeners, the video serves as an aptly accurate precursor as to what to expect on Le Pop.

Not only does Katzenjammer play with a wide arsenal of styles, but they attribute unconventional instruments in appliance to each style that would easily cause longtime fans of each style to come away quite startled (check out their instrumental arsenal in pictorial form here). This is mainly because they do it so well, whether they choose to implement a sitar in the bluesy “Ain’t No Thing” or mix the banjo, upright bass, and an infectious trumpet riff in the folksy “A Bar in Amsterdam”. The diversity on Le Pop is so wildly impressive that, even upon first listen, I was enthralled immediately on a track-to-track basis just to see what they would attempt next. “Tea with Cinnamon” is easily the album’s most accessible effort, seeing the four-piece get as close to pop conventionalism as ever but still succeeding in innovation by effortlessly introducing a plethora of key-led hooks that alternate in tempo and lyrical progression as the track intensifies. “It’s so beautiful” is the phrase sang throughout the chorus, a rather simple statement which contains a more significant premise as the lead vocalist employs several emphasized harmonic transitions that see her drag out the phrase in complementary form over a glockenspiel, accordion, and balalaika. “Now it’s night and I don’t feel so bright,” the sprightly vocals warn, signaling a foreshadowed tempo change that sees the chorus conclude the track in a more elegant and more subdued form that is done to accentuate the brilliance of the initial chorus. It succeeds remarkably, as does the entire duration of this masterful track.

Though “Tea with Cinnamon” may take the honors as the catchiest effort on Le Pop, it would be difficult to argue against “Hey Ho, On the Devil´s Back” being the most artistically successful one. It succeeds on so many fronts – melodically, lyrically, and stylistically – that it should appease any concerns among the few that may initially question Katzenjammer’s stylistic decisiveness. Clearly, stylistic intuitiveness is the skill present here, not stylistic indecisiveness. One listen through Le Pop should validate this, as the fact that all 12 tracks differ dramatically from one another with resounding success is evidence enough of the group’s ability. Considering that it follows “Tea with Cinnamon” in the track listing, the contrast in styles and mood is quite remarkable. The group goes from an optimistically gleeful, glockenspiel-led bounce to a brooding tale of vengeful redemption that features a swirling collaboration of swift and forceful rhythm sections, swelling piano crescendos, and ghostly backing vocals with remarks like “save our soul” and “hey ho! On the devil’s back!” The track has plenty of thematic allusions to boot. “I met the evil devil and he offered me a ride,” the vocals begin. “He said: “you look tired, let me carry you a while.”” Desperation and positional relinquishment are reoccurring themes throughout the track, resulting in an epic of sorts that is compelled by strong instrumental accompaniments, fervent vocal usage, and drolly effective lyrics.

The self-titled track is fascinating for a variety of reasons. After rushing through a flurry of circus-like enchantments, the group transitions into a sort of girl-group mentality as they each take turns with a very melodic vocal line over a dizzying rush of keys and bass. Think about what The Pipettes would sound like if they were somehow involved in Cirque du Soleil and this fast-paced gem is the result. “Wading in Deeper” serves as the ballad of the album, being a highly emotional effort as the vocals cry out, “LaLalalala, wading in deeper,” over a steady piano accompaniment and sporadic additions of a hastily plucked mandolin, à la Morricone. The second verse in the chorus goes from “up to her knees” to “up to her waist” and then “over her head” in each successive chorus until the track concludes, ending abruptly on a rather tragic note.

“To the Sea” is a short but satisfying track with a sharp string-aided chorus, while “Play My Darling, Play” is an accurate imitation of country-folk that has become a fan favorite for good reason. “Mother Superior” sits in the same boat as “Hey Ho, On the Devil’s Back” as being an epically invigorating epic, succeeding on all the same fronts and being a flawless closer to a sensational album. As you can probably see by my enthusiasm for each and every track on this gem of a release, I personally consider Le Pop to be one of the best debuts of the year. It is also one of the most stylistically masterful, not flaunting a single dull moment as this four-piece from Norway is one of the most passionately talented groups of musicians I have heard all year.

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Katzenjammer - Tea with Cinnamon

Download audio file (katzenj-tea.mp3)

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Katzenjammer - Hey Ho, On the Devil’s Back

Download audio file (katzenj-hey.mp3)

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Katzenjammer - Le Pop

Download audio file (katzenj-lep.mp3)

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When the Austin-based Sound Team released their third and final album, Movie Monster, in 2006, the subsequent acclaim was mainly attributed to the group’s ability to apply a wide range of styles onto one album without being overbearing or stylistically uncreative in their own right. With multiple styles from the serene psychedelia on the standout “No More Birthdays” to the infectious dance-rock on “TV Torso” coming into play, I found it fascinating how the group of siblings and high school friends were able to make an album that sounded so cohesive despite containing a wide variety of styles that contrasted each differing track immensely. Capitol Records also seemed to be aware of this, showing no reluctance in signing an act that did not exactly coincide with the general perception of a “major label artist” due to Sound Team’s prevailing use of stylistic experimentation. Capitol dropped Sound Team shortly after the release of Movie Monster to coincide with some corporate housecleaning and the group called it quits shortly after that. It was not a surprise to anyone who gave Sound Team’s material even the slightest listen that the members all began their own projects immediately though, as ambitious songwriters often appear to prefer death to being artistically idle. As one of the Sound Team’s primary songwriters, Bill Baird had already been working on his other source of creative output before Sound Team even dissolved.

Clearly a follower of the ideology that an idle moment is a wasted one for a capable musician, Baird is the type of artist who could release a handful of full-length albums in a full year to the surprise of no one. In fact, he has already done so this year with Bright Blue Dream and The Glowing City, two full-length albums that he released under his {{{Sunset}}} moniker in March and July, respectively. “I feel like I could die tomorrow, you know?” Baird once said in an interview to The Onion. “I try to take advantage of every breath of air I have, every second I have alive.” This perspective explains why Baird has been ceaselessly active in the music scene this decade, most recently devoting his entire body of work to {{{Sunset}}} (he also has used Silent Sunset or simply his birth name). Though Baird is the chief songwriter and performer, he works with a collection of artists who are clearly on the same page since they are individuals who have a constant desire to play and listen to freshly invigorating material. Keyboardist Will Patterson, bassist Willis McClung, and drummer John Kolar are mainstays in the project, with coast-based “crews” of additional musicians lending a helping hand on the road. In addition to Baird and Patterson, “east coast crew” electric pianist Michael Baird (Bill’s brother) was also a member of Sound Team.

Prior to the releases of Bright Blue Dream and The Glowing City, {{{Sunset}}} put out a collection of songs in December in cassette form entitled Pink Clouds. Only 100 copies were initially distributed to close friends because the group found the recording quality to be too muddled and the song choices too indecisive for a wide release, but they still planned to put it out officially in some form in the near future. To their dismay though, one of the 100 copies was leaked online and the mixture of sloppy cassette-to-MP3 ripping, periodic skipping and tempo-related technical issues, and a flawed track order provided for a misrepresentation of {{{Sunset}}}’s prevalent values of production and consequential atmospherics, in addition – of course – to the fact that no group wants their material available to the general public without their permission. Also, considering that this was leaked before the group had time to clear up their name and intentions with Bright Blue Dream in March, one can only imagine how frustrated Baird and co. must have been. Since they are a group who clearly has a fan base, though, one of the obtainers of the original tape uploaded a newer transfer of the tape in September. He remains anonymous, but he received the thanks of Baird via his blog. “Very thorough job, anonymous person,” he wrote, mentioning how they took the time to upload the proper rip, scan the artwork, and write out the liner notes. “Thanks.”

Now that I have finally listened to the intended version of Pink Clouds, it has only convinced me even more that Baird is one of the most underrated songwriters of the year; this is the third release in the past 12 months that sees a form of quality that is rare for an artist to even reproduce once a year. The best part? You can get it for free, with Baird’s permission to boot. I would not normally endorse downloading one of my albums, especially since I want to re-release it someday in a mastered version (the cassette version is unmastered),” he wrote on his blog. “But in this case, I think people should hear the correct versions of the songs.” So yes, the entire collection is available to download here for free. As far as the quality goes, I am shocked at how consistently great it is for an album that the group considers a “mix tape” of their own songs. “Loveshines” is a fantastic representation of Baird’s ability to capture the essence of ‘60s pop, employing a twinkling keyboard melody over a flurry of piano riffs and a distantly reverbed guitar progression. His voice remains in a constant hush, even during the chorus where thumping brass complements the original instruments in a way that is reminiscent of quality psychedelia; it is primarily due to the inherently lo-fi production, an intentional method that benefits this track and many others on Pink Clouds greatly.

Though other lo-fi gems like “Dear Friend (Collapsing Domino)”, a track led by a series of piano chords and a uniquely chugging rhythm section, and “You Cut My Heart in Two” comprise several of the highlights on the release’s “Side A, the captivating qualities do not stop there. Even after a robotic voice declares mid-way through the spaced-out “Sometimes We Fight” that the listener has “reached the end of Side A”, there is plenty more for the listener to be treated to. The shoegaze-tinged “Go to Mexico” is one of the most fascinating efforts on the release, featuring a swirling mixture of whirring organs, cooing hums, and distant guitar licks that combine for an atmospherically enthralling journey that falls somewhere between ‘60s pop and classic shoegaze. To give you a better perception of {{{Sunset}}}’s official and more polished releases, I have included the excellent tracks “Dear Broken Friend” and “Zombies”, the latter of which should be suitable come Friday. They are my favorite tracks from Bright Blue Dream and The Glowing City, two releases that should be at least checked out regardless of your disposition toward Pink Clouds. I personally love all three releases, but one must be warned that Baird is the songwriter who can try anything at anytime; it is a quality that I admire immensely because it certainly shows on the quality of his songs.

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{{{Sunset}}} - Zombies

Download audio file (sunset-zom.mp3)

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{{{Sunset}}} - Dear Broken Friend

Download audio file (sunset-dea.mp3)

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{{{Sunset}}} - Loveshines

Download audio file (sunset-lov.mp3)

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{{{Sunset}}} - Go to Mexico

Download audio file (sunset-got.mp3)

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As I look back upon the numerous aspects of Love Is All’s outstanding debut, Nine Times That Same Song, that caused me to consistently check up on the group’s progress of their second album every few months or so, I now realize that their release was one of the handful of debuts released every few years that fused extreme innovation and successful melodic accessibility to create a stylistically flawless collection of songs that were ceaselessly engaging with plenty of attitude. Unless it is erroneously mimicking a previous genre with minimal creativity involved, though, it would be difficult to call an artist’s stylistic preference flawed because it still remains as the artist’s own personalized intent. With that in mind, Love Is All’s contagious formula of punk-tinged guitar progressions, devilishly triumphant uses of brass, and intricately bustling rhythm sections was so ingeniously engineered on Nine Times That Same Song that it would be a crime to call the result even slightly derived; it simply did not fit in with either stereotypical Swedish indie-rock or western derivatives of punk music. Instead, the Swedish five-piece crafted a sound of their own that proved as successful as the plethora of hooks in their songs. As a result, you can probably imagine how gruesome it was for fans to wait three years for a follow-up.

With Love Is All’s topical consistencies in mind, A Hundred Things Keep Me Up at Night is a rather appropriate title for their long-awaited second album. As their band name suggests, Love Is All’s lyrical disposition often revolves around the topic of love, just like millions of other bands. The difference with them, though, is that they often put a spin on it that is humorous and wildly ironic, whether they are alluding to a physical being or mental sentiment truly “keeping them up” at night (with the quoted, again, referring possibly to either a sexually suggestive or mental state). Yeah, if you look deeply enough on A Hundred Things Keep Me Up at Night, the witticisms are there and reliably involved just like their first album. Their stylistic leanings remain similarly consistent as well, making no transitional subtleties from Nine Times That Same Song either. Despite any sharp contrasts though, the songs remain fresh, innovative, and consistently appealing; these lyrical, stylistic, and cumulative aspects are all complementary aspects that inform listeners definitively of the group’s implementation of the “if it ain’t broke, don’t fix it” ideology. Rather importantly, this indication remains applicable on A Hundred Things Keep Me Up at Night in appliance to Josephine Olausson’s vocals; she maintains the same mixture of gleeful yelps and fastidiously passionate displays of emotion of that made her vocal performance on Nine Times That Same Song so vitally contributive toward the release’s overall success.

In addition to maintaining the aspects of lyrical and melodic excellence that made Love Is All’s debut so memorable, A Hundred Things Keep Me Up at Night also manages to involve the same theme of variety within the group’s personalized stylistic realm that Nine Times That Same Song executed so well, whether it was on initially subdued bass-led buildups like “Felt Tip” or immediately excitable brass-led stomps in the vein of “Busy Doing Nothing”. On A Hundred Things Keep Me Up at Night, “A More Uncertain Future” is somewhat parallel to “Felt Tip”. Olausson begins the track in a subdued manner when compared to the other brisker tracks, backed nearly exclusively by an expanding rhythm section as the slight overtone of an electric guitar gradually takes over prior to the emergence of keys. Olausson and Nicholaus Sparding both sing quite equally on the track, with the format being representative of a crumbling relationship as each vocalist relays the perspective of each significant other. Just like on “Felt Tip”, Sparding eventually takes over as vocalist to complement Olausson’s previous sentiments, only this time he takes on a larger role as he emerges after each verse. “Blessed, I don’t want to argue, I just can’t sustain – god - this constant itching brain,” he replies, shortly followed up by Olausson with, “I put all your things in boxes, I placed them in the attic, I know it might seem plastic but it surely felt fantastic.”

Despite the entirety of “A More Uncertain Future” being immensely enjoyable, the best moment of the track occurs during the final minute where both vocalists correspond to one another every few seconds or so as a twinkling key progression contrasts their building frustration with one another in exuberant form. “We don’t need each other anymore,” they both take turns singing, symbolizing the bittersweet end of a tragic romance. It serves as one of the finest moments and the album, and certainly my personal favorite. In a more excitable vein, the rush of guitars and heavy bass on “Movie Romance” reminisces their punk leanings to a larger extent with an explosive chorus in which Olausson and Sparding turn up their harmonizing abilities once again. “Last Choice” and “Wishing Well” feature choruses with a large emphasis on twinkling keys, and verses that see little more than a steady bass line and Olausson’s fervent vocals overlap for an effect that many fans of Nine Times That Same Song should find familiarly invigorating. The last track, “Floors”, is one of the sharpest tracks on the album due to an irresistible rhythm section that makes a seamless transition into an anthemic chorus of sorts that later collapses completely to revert back to the swift bass line and heavily set percussion. As far as closers go, it manages to wrap up the album nicely with two contrasting brass solos that summarize the group’s high level of musicianship quite excellently.

“Sea Sick” is unique for the percussion during its chorus, in which claps and pounding percussion excel over the crooning of brass and Olausson’s familiarized yelps. The experimented screeching of a brass during the track’s conclusion over a key progression also adds to the song’s unique qualities, beckoning the highly original sentiments of their previous album. Though I found Nine Times That Same Song to encompass more variation of this type with its ingenious structures and flourishes of key changes that, consequently, brought forth more rewarding hooks, A Hundred Things Keep Me Up at Night is a fantastic follow-up to a debut that would be immensely difficult to improve upon. The chorus in a track like “Wishing Well” and the lack of structural variation in “Give it Back” may be too linear for many fans of the first album due to repetitiveness and a prevalent inability to take advantage of initial fresh ideas, but the bulk of A Hundred Things Keep Me Up at Night does manage to capitalize on the same complementary attributes that made Nine Times That Same Song one of the best debuts of the past several years to create another winning album that should remind listeners of Love Is All’s powerfully impressive ability. Still, in the midst of hectic domestic competition, their newest album once again proves that Love Is All is still one of the best things to come out of Sweden this decade. 8/10

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Love Is All - A More Uncertain Future

Download audio file (lisall-amo.mp3)

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Love Is All - Movie Romance

Download audio file (lisall-mov.mp3)

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Love Is All - Sea Sick

Download audio file (lisall-sea.mp3)

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Official Web Site

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As displayed in the previous feature that covered my personal perception of prolific artists, a substantial amount of recognition and success does not always equate to artistic satisfaction. By nature, musicians often yearn to craft their definitive opus, a release that defines their talent, compassion, and commitment toward the art of music. So, say you are a member of a group who will inarguably be looked back upon as one of the most stylistically influential bands of this current decade. You have millions of fans, have become a popular name in your field, and have a plethora of experience under your belts in regard to touring, recording, and writing music. What incentive is there left to manufacture quality? Well, the desire to constantly be artistically productive is not only inherent in artists that are classified as prolific. These musicians are not in it to make a quick buck, or even a small one at that; the role of a songwriter in the music industry is one of the most unstable of financial occupations in the world. The reward comes in producing something that others love and the artists themselves admire. Also, there are few better things in life than actually being able to support yourself – even if it is just by scraping by – by doing something that you love.

Out of the three members in the Los Angeles-based Little Joy, many readers will likely be most familiar with the name Fabrizio Moretti. As the drummer for the now world-renowned The Strokes, he has experienced the trials and tribulations of stardom on both an independent and mainstream level ever since The Strokes exploded onto the scene in 2001 with their debut Is This It one of the few albums released in the past decade that can already be classified as an influential stepping stone to subsequent groups of a similar vein (which, as we all know, are many). True, the experienced Moretti makes up one-third of the group, but the other two members are also just as experienced and within a similar realm of success; Rodrigo Amarante is the lead vocalist and guitarist of Los Hermanos, one of the most reputable Brazilian groups of the decade (though they are currently on hiatus), and Binki Shapiro. Shapiro has created a buzz around Los Angeles for several years with her multi-instrumental abilities, tackling aspects like guitar, piano, and bass in Little Joy in addition to ukulele, organ, and melotron. She has also become notable for being Moretti’s current girlfriend (he had previously dated actress Drew Barrymore). By listening to the chemistry emitted on Little Joy’s debut album by these three members, though, this one appears to be going strongly and productively already.

I suppose that when describing the sound of Little Joy it would be appropriate to compare it to the styles of The Strokes and Los Hermanos, two of the groups that the members of Little Joy derive from. It would be linear to call Little Joy a fusion of both groups, as Little Joy’s style is considerably more laid-back than either, but it is certainly not startling that both Moretti and Amarante have chosen to take this direction. Both The Strokes and Los Hermanos have attempted upbeat pop charmers with a lo-fi edge in the past, but never quite as consistently or successfully as Little Joy. Their self-titled debut album is full of the hooks one should come to expect from masterful songwriters in the vein of Moretti and Amarante, two artists who have certainly been around enough versions of success to distinguish what will fare well in the contemporary music scene. Moretti initially considered the outfit a solo project of sorts after writing the majority of the initial tracks, but after discussing the prospective future of the project with Amarante one night after the Los Hermanos frontman finished contributing his skills toward some tracks on Devendra Banhart’s Smokey Rolls Down Thunder Canyon. Shapiro was later introduced to the duo by some mutual friends, finding their stylistic direction to be a breath of fresh air as she joined the process shortly thereafter.

Scattered throughout the songs on Little Joy’s debut, one is likely to find any sporadic smatterings of reggae, R&B, folk, and – of course – art-rock. This provides for a very enjoyable representation of indie-pop, propelled by an intelligent mixture of infectious guitar-led rockers and barrenly enjoyable acoustically-led folk songs. One of my favorites in the latter category is “Unattainable”, a very touching love song with Shapiro on lead vocals. Her separately layered gentle, word-less croon consumes the backing of the track, while the placid reverberating of a bass consumes one ear and the delicate progression of an acoustic guitar takes over the other. “I can’t coerce you into this one,” she admits over the hauntingly overlapping melody of her dual vocals and the acoustic-bass combo. “Jealousy lay all your spells to your bed, I’ll choose unloved instead.” My favorite track on the album, “The Next Time Around”, falls somewhere in between both categories. A very active rhythm section is initially prevalent over the simplistic progression of an acoustic guitar, but the magnificent chorus sees an expansion into a series of slick guitar progressions and accentuated drum fills. Amarante takes lead vocals on this track and most of the others on the album, and his capacity in the style of serene indie-pop is highly commendable.

“Brand New Start” also is highly representative of their generally lighthearted demeanor, shedding lights of optimism that many other groups of a similar vein are somewhat reluctant to expose. “There ain’t no lover like the one I got,” Amarante repeats twice over a twangy guitar progression with an underlying brass melody. “She and I in a brand new start; gotta give all my love.” The lyrical content throughout Little Joy maintains high accessibility without being overly predictable or romantically overwrought, opting to match simplistically enthralling melodies with lyrical content of a similar nature. The album’s content on both ends, though, is joyous for the most part, with even the more somber songs like “Unattainable” and “Play the Part” bursting with hope and brightly effused melodies. For the three well-traveled and experienced musicians in Little Joy, such success can be expected. Even for such expectations though, do not be surprised if Little Joy makes a big splash when their debut is released on November 4th.

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Little Joy - The Next Time Around

Download audio file (ljoy-nex.mp3)

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Little Joy - Unattainable

Download audio file (ljoy-una.mp3)

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Little Joy - Brand New Start

Download audio file (ljoy-bra.mp3)

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Rough Trade Records

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Prolific artists have a tendency to never feel quite satisfied. Regardless of whether or not they have something left to prove, pursuits regarding financial and reputational standing always seem to take a backseat to creative endeavors. It is certainly an admirable ideology, albeit a bit obsessive in some circumstances. An obsession when applied to the art of music, though, is something that many readers of this site can relate to; it is a way of life in which many of us have grown accustomed to, whether we are listeners or artists ourselves. Whether you choose to look at a popular name like Ryan Adams or a recently featured up-and-coming one like Peter Broderick, there is a resoundingly similar quality; these artists who value quality just as much as quantity often split their time between several aliases or projects to differentiate between styles, moods, or methods of performance. The ability to seamlessly transition between musical styles is another talent in itself, but what I often come to respect is an artist who is able to attain a similar audience through different formats. Their success comes in the form of universal admiration, whether it is granted through fans of previous projects or those who have just discovered an artist and now seek to listen to all of their works based on respect alone, dismissing whether or not a certain genre is “not for them”.

As any number of recently featured instrumental artists on this site, from Hauschka to Peter Broderick, could tell you, the influence that classical music has on works of contemporary music is deeply resonating. Whether the intended style is the “post-classical” movement of Max Richter, Hauschka, and Broderick or the electronic pop of Olga Kouklaki and Max Tundra, these artists echo their values of classical music through the structural and melodic tendencies contained within their own works. Just to cite some featured examples: Kouklaki, Broderick, and Ben Jacobs (Max Tundra) all grew up learning the schematics of classical music before they had realized their ambitions as songwriters, a steady indication of just how influential the style of music continues to be. Of course, all these songwriters had a talent just waiting to be unearthed, but it says something that this style of music most certainly contributed to transforming a latent talent into one that is heavily recognizable. Much of the same can be said for Keith Kenniff, a musician whose roots trace back to his childhood. His father, also a musician, taught he and his brother how to play guitar, bass, and drums and encouraged Kenniff’s pursuit of a variety of music styles, from rock to classical, since a young age.

After attending the Berklee College of Music and broadening his interest and capacity in music, he formed his first solo project, Helios. His debut, Unomia, was released in 2004, showcasing a variety of beautiful instrumentals that capitalized on his skills as a multi-instrumentalist and budding songwriter. The album’s general classification of “ambient music” often did not do it enough justice, as Kenniff’s arrangements were often too intricately composed with a revolving array of instruments to be classified as a purely scenic experience. There also served a steady focus on percussion, an instrument Kenniff has pursued and enjoyed immensely ever since childhood. Due to his serenely invigorating compositions, the album drew considerable acclaim. However, instead of following it up immediately, Kenniff chose to tackle a new style of music that slightly opposed the multi-instrumentalist ambient works of Unomia. For this, he also gave himself a new alias: Goldmund. This project instead chose to focus on Kenniff’s more classical leanings, featuring stark piano-led ballads that are subtly complemented by glitchy electronics and distant ambient clips. The project’s debut album, Corduroy Road, was released in 2005 to warm applause. Subsequently, 2006 saw another Helios release in Eingya and 2007 welcomed albums by both of Kenniff’s projects, Ayres by Helios in July and Two Point Discrimination by Goldmund in November.

The year 2008 marks the second time in two years that Kenniff is releasing two albums in one year, with one apiece for Helios and Goldmund. Goldmund’s The Malady of Elegance was released this past July and brought forth what many fans have been expecting from this particular project. The brightest spots on minimalistic gems like “In a Notebook” and “The Winter Of 1539-1540” derived purely from a captivatingly enchanting melody, while other eerily haunting tracks in the vein of “John Harrington” and “The Gardener” explore somewhat unchartered territory with their polyphonic arrangements that consist of acoustical accompaniments and ambient supplementation. Helios’ newest release, Caesura, will be released on November 11th under Type Records, the label that Kenniff has called home ever since his debut. As can be easily seen on this album, Helios serves as Kenniff’s more electronically enabled attempts. The opener, “Hope Valley Hill”, floats weightlessly over a series of gentle guitar progressions, a gently reverberating rhythm section, and faint synth pad in the background. The track begins in a subdued manner but picks up pace when the chordal and rhythmic structures emerge around the 01:34 mark. The soft trickle of keys complements the appropriately titled “A Mountain of Ice” very nicely over a shifting bustle of percussion and eventual guitar progression, while “Mima” is easily the most conventionally guitar-led track on the album.

More highlights on the excellent Caesura include “Backlight”, an epic build-up of a track that shifts from a bare synth pad to a rhythmically combustible lead that sees post-rock influences comes into play, and “Glimpse”, which serves as arguably the best example of Kenniff’s extremely capable multi-instrumental talents. If I had to choose, I would say that I enjoy Caesura, more than The Malady of Elegance, but this is purely rooted in opinion. The fact that Kenniff has crafted two excellent albums of drastically differing styles in one year is a feat in itself, but the way he has formulated each and every moment on both albums with extreme preciseness is what impresses me most. On the two albums combined, there is over 105 minutes worth of material. In all of that, it is breathtakingly impressive how much of that consists of undeniable quality.

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Helios - Hope Valley Hill

Download audio file (helios-hop.mp3)

Helios - A Mountain of Ice

Download audio file (helios-amo.mp3)

Helios - Backlight

Download audio file (helios-bac.mp3)

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Goldmund - In a Notebook

Download audio file (goldm-ina.mp3)

Goldmund - The Gardener

Download audio file (goldm-gar.mp3)

Goldmund - Image-Autumn-Womb

Download audio file (goldm-ima.mp3)

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Type Records

MySpace: Helios, Goldmund

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Emotional variability is an aspect of art that all musicians value. An artist limiting one’s self to a consistent set of emotions can be detrimental to a listener’s perception of the artist, primarily due to the fact that an entire discography consisting of sulking or romanticized longing can become repetitively dull and topically overwrought if not done correctly. You can look at some fine artists who can do this successfully – The Smiths, Mark Kozelek, American Music Club, etc. – and find that their musical styles and structures often diversify the songs enough. And if not, the vocal diction is varied enough to capture a consistent audience for decades. There will always be a small select group of people who opt to only listen to somberly reflective alt-rock or mindless sexually-driven pop music due to their linear perception of the art of music in general, but most listeners enjoy occasional doses of topical diversity in the music the dedicate a lot of time in discovering. To combat such linearly mundane approaches while simultaneously delivering a consistent theme and set of central emotions, Daniel Smith has become notable for crafting songs with rich imagery, brooding contrasting instrumentation, and – arguably most importantly – the ability to interweave the two aspect to craft tales of bleakly entertaining circumstances. Under the alias of Begushkin, his lyrical journeys prove both wildly engrossing and startlingly unique.

When Smith’s debut, Nightly Things, was released in June of 2006, critics took note of the young Brooklynite’s prevalent ability to emit a plethora of lyrically-led topics without overwhelming the listener. Lovelorn desperation, violence and angst, maddening loneliness, and self-inflicted emotional wounds were a few of the relayed emotions involved, all with a supplemented cast of fictional characters and exotic locales that would make even songwriters in the storytelling vein of Tom Waits and Lou Reed grin with approval. The release’s style was centered in folk, with a few other elements like gypsy-rock and glam making subtle appearances. Acoustics often led the melody in the unique of forms, usually in a blatant minor key due to the brooding topics and backing instrumentation involved. It was by no means a solely acoustical affair though, as strings and accordions also made cameos that added to the rich qualities of Smith’s songs in extravagant form. His vocals are on another as well; they quiver and moan with a likeness to two other Daniel’s who dwell in the realm of oddball folk: Dan Bejar and Danielson, though the latter Daniel Smith ironically has no relation to Begushkin’s Smith. The main difference between these artists and Begushkin, though, may lie in Smith’s stylistic bearings.

Treading on a path located somewhere between Middle-Eastern gypsy-rock and folk-based Americana, his wholesome sound and derived influences turn out to be wholesomely his own. For Smith’s sophomore album, King’s Curse, he has chosen to expand upon a sound that was already enticingly original enough for the acclaimed reception of Nightly Things. King’s Curse sees a larger emphasis on the shades of gypsy-rock that made Nightly Things - particularly on the bustling guitar-led “Hearth Light of Our Home” – so memorable. The emotional intensity of Smith’s quivering vocals has also heightened the aspect of zealousness that complements the increased ferociousness of his general stylistic demeanor. The self-titled track is highly representative of his newly initiated narrative approach, with this track in particular being one of the faster-paced efforts on the album. The tempo is in accordance with the song’s narrative focus, one that tells of ruthless hierarchical figures and creatures that would appear to fit well in medieval folklore. “The gypsy king at last is dead!” Smith pronounces with glee, followed shortly by the ghastly accompaniment of female vocals. “But his soul I couldn’t save and hollers like a lunatic from the diamond cave.” Such a vividly haunting conclusion is one component that makes Smith so memorable; he seems to always establish a song’s focus and carry through with it until the listener reaches an extremely satisfying conclusion.

Though King’s Curse is more expansive and ardently expressive on a superficial level, “Murderer” demonstrates his more subdued attempts at plot-based thematic involvement in excellent form. “Cranberry wine, dripping down her spine,” he begins, backed by an ethereal electric guitar progression and the faint whirring of an organ. The chorus sees the rumbling of percussion enter with a sparse melodic shift; the song actually takes over three minutes to truly build up, resulting in a monstrously successful guitar solo that sees all formats of instrumentation enhance tremendously before the track reverts to its original subdued format before the conclusion. “Refugee & the Hag” is notable for Smith’s excellent vocal delivery and the guitar usage that contrasts it. He opts to use several sliding techniques in addition to his quivering snarls, a vocal element that appears most openly effusive in both “Refugee & the Hag” and “King’s Curse”. The last two tracks on the album, “The Beat & the King” and “Gone to Hell”, are easily the album’s most structurally ambitious. “The Beat & the King” recalls vintage Sunset Rubdown with its marching-band rhythmic pattern and increasingly volatile vocal accompaniment, while “Gone to Hell” sees some of Smith’s most commendable guitar work to date. Both exceed six minutes in length, but knowing Smith’s talents as both a storyteller and songwriter, he can make time fly by seamlessly. The bulk of King’s Curse is chock full of material like this; time just flies by so quickly when entertained by a master storyteller.

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Begushkin - Murderer

Download audio file (begush-mur.mp3)

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Begushkin - King’s Curse

Download audio file (begush-kin.mp3)

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Begushkin - Refugee & the Hag

Download audio file (begush-ref.mp3)

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Locust Music

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As many of you know, bands that I choose to feature often have a release that will or has been released in the span of a few months before or after the feature date. The goal of this site has always been to expose the newest worthwhile acts that have yet to be substantially covered, and this is still the case. However, I occasionally get the urge to mention a release that is over a year old, even if the reasoning is based purely on my own intentions to focus in on an artist who has received an undeservedly amount of exposure in regard to a release that truly deserves heaps of it. I managed to do this somewhat subtly with Jesse Sykes and the Sweet Hereafter’s 2007 release, Like, Love, Lust & the Open Halls of the Soul when featuring her new EP, The Gentleness of Nothing a few weeks ago, but it was likely prevalent to most readers that my efforts in exposing their previous album were as strong as those in exposing her new EP. It was simply convenient that they had a new release out as well, supplying me with an excuse of sorts to feature tidbits from the preceding one. I contemplated whether or not to feature Malajube for a bit, only because their most recent release was put out in 2006. For a group who possesses their level of sheer melodic ability though, I feel that would be doing a disservice in not featuring them.

As I was admittedly a bit late to the party, I first found Malajube about two months ago while perusing couple of French-speaking artists upon the request of a friend who desired quality music of that linguistically European specification. I was drawn in immediately after hearing the gleeful infectiousness of their single, “La Palat”, and followed it up by grabbing their second album, Trompe-l’Oeil. I have been listening sporadically to the 2006 release whenever I desired an exotically accessible form of indie-rock, but it was not until I featured the Montreal-based Winter Gloves earlier this week that I remembered my initial intent to feature Malajube. This five-piece is also based out of Montreal, once again reminding me how truly industrious the city’s music scene really is. Unlike Winter Gloves, Malajube’s songs are sung in Montreal’s official language, French. This has not detracted from their fanbase though, as they are commonly mentioned as one of Montreal’s most promising contemporary acts by local fans and national publications alike. Despite this level of acclaim and a few spots in prominent commercials (Rogers Wireless and Zellers in Canada, Radioshack in the USA), many still feel that this talented five-piece is not getting the attention they deserve. I happen to be one of them.

Though I may make it sound like Malajube’s level of exposure is low, they are in fact quite reputable when compared to the plethora of other artists on this site just beginning to break out. In addition to their aforementioned commercial deals, their biggest spotlight for Malajube came when Trompe-l’Oeil was nominated for the Polaris Music Prize in 2006. Nominees among the ten that year included Wolf Parade, The New Pornographers, and Broken Social Scene, with Final Fantasy’s He Poos Clouds taking home the prize. To accomplish such a feat while speaking a language that remains foreign to the United States and some audiences in their native Canada is quite remarkable. It simply goes to show how engaging their songwriting ability is; their ability to craft hooks remains arguably second to none among contemporary Francophone indie-rock acts. Their origins trace back to a high school in Sorel during early 2003, where three of the members came together. Two others joined shortly thereafter and the group was set into motion, releasing their debut Le Compte complet in 2004. After the release of Trompe-l’Oeil, “Montreal -40°C” appeared in the Rogers Wireless commercial and “Ton Plat Favori” was used in a Zellers commercial. One of my favorites, “Pâte filo”, made its American appearance shortly after on a RadioShack commercial. It was one of the few songs that I never get tired of listening to despite its appearance on TV every hour or so.

Due to the commercial exposure and complete irresistibility, a track that has brought Malajube a wide degree of recognition is “Pâte Filo”, a gem that capitalizes on their commonly prevalent usage of twinkling keys and roaring electric guitars with slide effects and vibrating tremolos. The verses prove simplistically enjoyable enough with their thunderous guitars and reflectively enhancing keys, but the chorus hits a fantastic mark when lead vocalist Julien Mineau shifts into a joyous, lyric-less yelp that contrasts the overlapping keys in beautiful form. Even listeners who do not understand a lick of French have to admire this song’s ingenious level of craftsmanship. “Montréal - 40°C” proves just as memorable in displaying the group’s astute level of harmonic vocal ability, with even the introductory moments being an enthralling display. Free imitative form begins the track as several other varying voices come are involved prior to a gleefully effervescent burst of Mineau’s “Ba-ba-ba-ba-ba-baba-ba”. The most striking moment of the track occurs toward the conclusion when the melody sees a complete and utterly brilliant ship in composure, transitioning from a guitar-led stampede into a segment of elegance that is now led by keys, resulting in a very Parisian type of sound.

“Le Crabe” and “La Monogamie” are more representative of the group’s rougher edges, with the latter exposing a wide variety of distortion over a chorus that becomes undeniably addictive once the intentionally muddled form of production clears its way through the listener’s head. “Ton Plat Favori” is also notable for its rollicking demeanor, taking on a force of its own that is unique on the album due to its female-male harmonies and excitable use of keys. Overall though, Trompe-l’Oeil is an album full of exciting surprises and enthralling moments; its high level of quality is the reason I chose to feature a release over two years old.

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Malajube - Pâte Filo

Download audio file (malaj-pat.mp3)

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Malajube - Montréal - 40°C

Download audio file (malaj-mon.mp3)

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Malajube - La Monogamie

Download audio file (malaj-lam.mp3)

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Even just by reading her own personal thoughts on the art of music alone, one can easily gather that Jenny Hval is one of those literary types. By this, I refer to individuals who seem to have a personal connection with works of literature, interpreting them as if it is their own life and experiences being foretold in the process. Sure, many of these types can be pretentious, but others can be uniquely invigorating in a way that causes the people they interact with to look deeper into the thematic meanings of literature and art in general. Hval is more applicable of the latter description, fusing her love of music and literature together for the “one-woman band” of Rockettothesky. It would make sense too, as the young songwriter from Norway also happens to be an aspiring writer who has had her works published in a handful of anthologies; she describes herself as constantly being busy with “pieces of fiction, articles, essays, [and] spoken word pieces” in addition to her music. That being said, she certainly seems like a fascinating person to sit down and have a cup of coffee with. The aspect that drew me to Hval’s music, though, was not the way she looked upon the art of writing and music. Instead, I became enthralled by the way she was able to fuse the two together in producing a sound and style that is truly and distinctively her own.

In accordance to her literary ideology, I suppose that it should not be all that startling that Hval began writing songs for Rockettothesky as a “secret project” of sorts consisting of impulsive monologues for her deceased dog, Inka. In fact, in her own words, the project is “an invocation of the voices of the dead”, prompting the improvisational tendencies of Hval to be both thematically appropriate and strangely resounding. You see what I mean about how it would be interesting to sit down and have a conversation with Hval? For those somewhat intimidated by her eccentric nature though, her music proves that she is not by any means utilizing these unconventional methods for the sake of recognition or artistic desperation. In touch with her individualistic self throughout the entire duration, the ten recordings on her second album, Medea, portray a woman who is clearly in touch with the style she intends to produce. Alternating between styles such as folk, electronica, and pop, her richly extravagant vocals haunt the realms of her stylistically multifarious ability in a comparable form to Björk, a prevalent influence. A plea to the dead is a somewhat bizarre way to describe her style, but as Hval shifts from highly melodic vocal lines on sweeping orchestrals like “Grizzly Man” to percussively aided electro-pop gems like “The Dead, Dead Water Lily Thin”, one begins to get the sense that her highly ambitious style of play may be impossible to describe any better than as tribal chants directed toward the dead.

While chants and odes to the deceased may sound like a grim topic, Hval’s music actually turns out to be more enlightening than it does somber or melancholically reflective. “Grizzly Man” sounds more spiritually uplifting if anything, looking upon such aforementioned aspects of death in a manner that appears optimistic and progressively gratifying. The tracks sung in Norwegian may be foreign to me and most listeners, but the mixture of twinkling bells and beautiful finger-picked acoustical guitar progressions in “Grizzly Man” creates a serene atmosphere that is supplemented marvelously by Hval’s extraordinary vocals. Her range defies even her melodic diversity, a spectacle in itself considering the unpredictable nature of her song’s structures and the melodic instrumentation that drives them. This astute level of instrumental diversity and consequentially experimental production is found all throughout the duration of Medea, whether it be the heavily reverbed echoes of a trickling guitar and sporadic bass in “Song in Blood” or the use of wind chimes and subtle hint of strings in the opening “Song of Pearl”. Some tracks even border a cappella form. “Chorus”, specifically, is only backed by a brooding synth pad as a variety of vocal layers overlap to give a choir-like effect that simply adds to a central message of everlasting love.

Despite being considerably more ambitious than anything you are ever likely to find on mainstream radio, “14, 15, 13, 14” serves as one of the most accessible tracks on Medea. The track is directed by a key-led beat that is very reminiscent of Middle-Eastern folk music, a very fascinating development that reveals itself as Hval transitions between melodically appeasing harmonies and spoken-word movements over a bustling trickle of backing synths. It is also one of her most straightforward tracks in terms of style and substance, especially when compared to near-ambient spectacles like “Mothering Silence” and “Chorus”. The only other track that takes a somewhat similar approach is “The Dead, Dead Water Lily Thin”. Initiated by the deep resounding pounding of percussion and a nasally synth line, Sweden’s The Knife certainly comes to mind due to the track’s ability to remain in the realm of electronic pop while maintaining the utmost sense of ambitiousness and atmospheric maneuverability. It also helps considerably that Hval encompasses vocals that fit whichever style she chooses to a startlingly effective extent, whether it be a cappella choral music, meditative orchestral arrangements, or subtly infectious electronic pop. On Medea, there is something for anyone who appreciates succeeding in a nearly inimitable format.

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Rockettothesky - Grizzly Man

Download audio file (rocket-gri.mp3)

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Rockettothesky - 14, 15, 13, 14

Download audio file (rocket-14.mp3)

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Rockettothesky - The Dead, Dead Water Lily Thin

Download audio file (rocket-dea.mp3)

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I do hope to travel across a wide variety of locations one day, but as a middle-class college student I understand that my resources are somewhat limited. That being said, it is a common process for me to singularly identify certain cities based on the musicians who originate from there. You can call it the result of ignorance from a young inexperienced traveler or simply the product of someone who loves music to death, but I have to say that the result is almost always complementary. After all, how else would those not too keen on geography or history identify some of the world’s more bustling and artistically productive areas? Montreal is by no means an unidentifiable city as the second-largest city in Canada, but the prosperous amount of musical activity has certainly brought more attention to the area as a ceaseless hotspot for artists who defy all stylistic and cultural boundaries. From commonly identifiable contemporary acts like Arcade Fire and Wolf Parade to legendary artists like Leonard Cohen who your parents (and hopefully you as well) can identify with, the city has been producing worthwhile artists for decades. That being said, there is little to question in whether or not one of the latest Montreal-based groups, Winter Gloves, have enough of an audience to gain exposure, as they have captured the attention of a city who is used to nothing but the utmost quality in independent music.

Capitalizing on a commonly receptive form of integrated indie-rock and synth-pop that has seen local contemporaries like Stars and Chromeo, go on to national success, Winter Gloves refine their approach by being neither intimidating nor overly aggressive. With ambitiously modernistic minds like Spencer Krug also hailing from the same city, their songs are not even remotely the most complex or intricate pieces to hail from Montreal, but the four-piece are able to emit a form of convincing infectiousness that makes their success appear nearly imminent. In support of their recently released debut album, About a Girl, they are currently wrapping up a Canadian tour that has earned them both hot press and a budding fan base. Prior to this release, however, they put out an EP, Let Me Drive, that primarily consisted of frontman Charles F.’s solo musings. Winter Gloves itself was originally intended to be a solo side project for Charles, but he found the life of a solo musician to be too restrictive for his taste. “When you record everything yourself and then you listen back to the CD, everything is a bit boring,” he said in an interview. “It’s like a talent show for you.” Seeking both an outlet for constructive criticism and stylistic expansion, the search for the proper musicians proved easy for the native of Quebec City when he returned to his native roots.

After he had spent one year overseas in Britain and had gotten a bit bored of the straightforward art-rock infesting the likes of NME, Charles F. relocated back to Montreal in hopes of gathering some like-minded musicians to complete the process of finalizing Winter Groves. First, he looked toward Vincent Chalifour, a friend who had helped him mix the debut EP. After Chalifour’s quick agreement, the two then connected with collaborators Patrick Sayers and Jean-Michel Pigeon, completing the four-piece. First, he looked toward Vincent Chalifour, a friend who had helped him mix the debut EP. Off the heat of the EP alone, the group began touring with the likes of Tokyo Police Club and Jealous Girlfriends despite not being signed to a label at the time. The critical acclaim for both their EP and live shows sent labels a knocking though, and the Toronto-based Paper Bag Records swooped Winter Gloves in anticipation for the release of About a Girl. Now on the same label with the likes of The Acorn, Tokyo Police Club, Sally Shapiro, and Stars, they look to fit well among a group of excellent songwriters and performers that capitalize in a variety of original hooks and multifarious stylistic tendencies.

Although the longest track on About a Girl is no longer than four minutes, this works to the group’s advantage in regard to their stylistic preference. For most of the tracks, if they were any longer then they would overstay their welcome, mainly due to an instrumental focus on keyboards and synths that remains consistently accessible. “I Can’t Tell You” is a fine example of their key-driven sound, often backed by a revolving array of warbling synths and a very brisk rhythm section that can be surprisingly and efficiently complex in specified areas. This is found accordingly in the chorus of “I Can’t Tell You”, where a series of twinkling synths further supplement a repeated key progression as Charles’ vocals change pitch from a series of half-spoken verses to a falsetto-aided bridge. His dynamic range allows the arrangements to flourish abundantly, perhaps overshadowing any simplistic melodic aspects that may turn off some listeners. The opener, “Factories”, is more demonstrative of their enthusiastic nature. In contrast to “I Can’t Tell You”, the track is a constant whirlwind of energy that sees a guitar arpeggio complement an already engaged series of synth lines. The lyrics are generally nonexistent during this section, as Charles opts for a melodic croon that sees his vocals substitute for any extraneous instrumental accompaniments.

I suppose you could make comparisons to a handful of Wolf Parade’s more accessible tracks – “Fancy Claps” or “Modern World” - on a track like “Let Me Drive”, though the structure without being all too predictable. The implementation of handclaps over the building bass line adds to the songs immensely, adding a sense of anticipation that should find the listener in a state of appeasement when the track reaches its conclusion. Overall, About a Girl is not the most intricately resounding thing to come out of Montreal, but it is certainly some of the catchiest material from the city I have heard so far this year.

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Winter Gloves - I Can’t Tell You

Download audio file (wgloves-ica.mp3)

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Winter Gloves - Factories

Download audio file (wgloves-fac.mp3)

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Winter Gloves - Let Me Drive

Download audio file (wgloves-let.mp3)

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Paper Bag Records

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Experience is invaluable toward the delicate craft of music. Despite some ingenious qualities, all artists have only a limited amount of entirely imaginative ideas with little to no personalized dimensions involved. Their personal lives encompass a degree of relevantly invigorating reflections – whether it is through their own experiences or those of their acquaintances – that uplift their music into something that is wholesomely personal, consequently making their material enthralling if other more musically-laden elements are successfully prevalent. Whether you look at legends like Bob Dylan chronicling the unlawful justices of historically documented racism in a track like “Hurricane” or Johnny Cash relaying the rite of passage from youth to adulthood on “Don’t Take Your Guns to Town”, the majority of the most venerable songwriters of this generation and past have used both events and experiences that they have personally related to in an effort to make their music much more than a catchy melody or a series of intricately impressive arrangements. They have created art that is both admirably thought-provoking and genuinely invigorating, aspects that many contemporary artists now take wisely to heart. While looking at her influences and admirable method of songwriting, it is quite evident that Jolie Holland values many of these aspects in a form that other modern artists push foolishly aside.

For her fourth studio album, Holland has taken on a thematic approach that will not seem bizarre at all to listeners of her previously acclaimed three albums. Ever since the release of her debut album, Catalpa, in 2003, listeners have been treated to her perspective viewpoints on the present and past, a constantly reoccurring theme among her albums and the songs within them. As one of the founders of The Be Good Tanyas, Holland found her ambitions to be too individualistically expansive for a group atmosphere, departing from the group in 2001 after contributing to the release of their first album, Blue Horse. After a move back to San Francisco, she began smoothing out her pre-written songs and put them in demo form. The demos exhibited a remarkable fusion of folk, blues, and country, with tinges of the latter showing Holland’s original Texas roots in stylishly memorable form. It was even enough to grab the attention of Tom Waits, the legendary songwriter whose selfless qualities have always seen him swoop up unrecognizable songwriters into a deservedly influential spotlight based on his name alone. He even went as far to nominate Catalpa, her released collection of demos, for the Short List Music Prize. It did not make the final cut, but gave her plenty of recognition to garner a substantial fan base and begin work on her second album, Escondida.

Translating to “hidden” in Spanish, the titling of Escondida was somewhat ironic in the sense that it uncovered Holland to an even broader audience with her first batch of new material designed specifically for one album. It was received just as well as her debut, displaying a variety of classic American genres with her accustomed forms of folk and country now being integrated with a sharp jazzy demeanor. In addition to playing a handful of instruments on the album herself, she was also credited with production credits in addition to lead vocals, guitar, piano, and ukulele. The album was a somewhat lighter experience than Catalpa without sacrificing the brooding imagery and eclectic thematic grasp, resulting in an album that was just as strong as the first. Her third album, the bleakly titled Springtime Can Kill You, saw the most widespread acclaim yet with Holland once again taking the helms as producer in addition to lead songwriter. The style was a continuation, but many felt that the batch of songs that Holland put out were the most captivating of her new but exciting career. French horns, glockenspiels, tubas, accordions, and Hawaiian guitars were only a few of the instruments that accompanied Holland’s impressive stylistic accompaniment. From the progressively jazzy demeanor of the title track to free-flowing country tracks like “Moonshiner” and “Ghostly Girl”, the album was a winner in all formats.

To keep up with her constant discography, Holland released her fourth studio album, The Living and the Dead, on October 7th through Anti Records, the label that has released all four of her albums. Now featuring a few familiar names like M. Ward and Marc Ribot on guitar, Holland resumes her role as producer (alongside Shahzad Ismaily) and lead songwriter on ten tracks that again define why her simultaneous grasp of several American music genres is hard to compare amongst contemporary songwriters. It is highly prevalent even on the opening “Mexico City” that her talents as a vocalist should not go overlooked either, as they are responsible here for a variety of emotionally credited hooks that sees her extensive vocal range quiver and somberly reflect upon the loneliness of life’s travails as she concludes resoundingly by repeating the album’s title, “the living and the dead”. It is all part of the album’s theme, one that opts to successfully display the emotional embodiments of the past and present. Like songwriters in the vein of Tom Waits, one of the individuals responsible for bringing the talented Holland to light, she is able to create characters and scenarios that effectively portray her thematic intentions and genuinely foretold experiences effectively.

“Only a few old petals left on the rose that touched your hand,” she sings on the ceaselessly expanding guitar-led fervor of “Palmyra”. “My little heart is a graveyard; it’s a no man’s land.” Frustration, regret, and moving on are all highlighted in this outstanding effort, proving to be yet another great example of Holland’s talents as a lyricist and songwriter. Other highlights include a sparsely enjoyable cover of “Love Henry” with subtle electronic elements and the exotically enthralling thump of the rhythmically led “Fox in Its Hole”. As for the majority of The Living and the Dead, I found it to be her best release yet. Considering that she seems to be getting better with each successive release, it should only be a matter of time before she becomes a brand name in a genre that will never be quite singularly definable.

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Jolie Holland - Mexico City

Download audio file (jholl-mex.mp3)

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Jolie Holland - Palmyra

Download audio file (jholl-pal.mp3)

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Jolie Holland - Fox in Its Hole

Download audio file (jholl-fox.mp3)

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