Berated

Some groups form after coming together by traveling across the borders of states, countries, and oceans. Others, however, may derive from the same town or even the same neighborhood. All of this geographical effort holds relevancy to finding one thing: seamless collaboration. Whether the core of a group meets in person because they live next door to one another or they form some long-distance relationship online, the end result for success is often the same. The method in getting there and finding the means necessary to do so is not. In their namesake alone, The British Columbians exhibit a sense of pride for where the band formed, despite some members having origins elsewhere. Girard Knox - the group’s lead guitarist, vocalist, and songwriter - is not based out of British Columbia at all; he moved there in the late ’90s in pursuit of his musical ambitions. Drummer David Moran, however, has lived in British Columbia for all of his life, growing familiar with the province’s music scene and the life that circulates within it. When Knox moved up north, it was Moran who made the transition seamless. Knox had the talent and means necessary to steer a group toward success, but he was in need of a vital collaborator who demonstrated a similar degree of talent, motivation, and a more prosperous knowledge of the area’s musical roots of the past and present.

Whether you choose to look at examples of the past like the Smashing Pumpkins or the future like Digitalism, it is a tough task to count how many groups have formed from its members meeting at a record store. This is exactly how The British Columbians came together, although it arose out of actual employment rather than a per-chance meeting. Specifically, Knox and Moran happened to be working at the same record store in Surrey, a city in the province of British Columbia. The expected happened and their musical interests overlapped to form a mutually ambitious demeanor of sorts, as their hopes to ignite a new project were abundant in their early conversations. The duo’s shared vision eventually evolved into The British Columbians after several songs were written and the general stylistic demeanor was decided. Bassist Chris Ellis joined shortly thereafter and the trio put their songs to life, apparently in a run-down shack by the “switching yard in Port Moody, BC”. Ellis joined based on his previous connections with Knox, who had played in a variety of local bands when he just arrived onto the scene in the earlier part of the decade. In addition to playing with Cremona, he worked in several sessions with Subconscious Satellite, the group in which he first played with Ellis.

So there you have it; a local and a traveler formed a band out of a mutual love for music, with their geographical origins holding no bearings whatsoever on the definition of their sound. Their separable derivations actually prove quite useful in their sound, which translates to an eclectically enjoyable fusion of blues and folk. It would be very easy to call the style quite Americanized for a band based out of Canada, but such a classification would be for those who have underestimated the blues scene in Canada. With an abundance of labels, societies, and artists who specialize in the genre, artists like the Powder Blues Band and Colin James have proved that it is not difficult to attain a massive Canadian fan base out of blues music if the songwriting and performances are of a high standard. While blues is a definitive and arguably the most predominant influence within The British Columbians’ sound, it certainly shows a capability to capitalize on modernistic methods of production and songwriting. Like other contemporary blues-rock acts in the vein of The Black Keys and The White Stripes, The British Columbians incorporate elements of indie-rock in their ardently invigorating sound. I have heard some blues fans mocking such acts by declaring that they “dumb down” blues music, but I have to strongly disagree. Blues has always been one of the most enjoyable forms of expression in music, and these acts simply remain synonymous with that belief while incorporating new and innovative techniques that consequently enforces a higher level of accessibility among younger listeners, perhaps encouraging them to become engaged with innovators like Muddy Waters, Robert Johnson, and B.B. King in the process.

All influences aside, the aspect of The British Columbians’ self-titled debut that I came away most impressed with is how the trio are able to craft nine songs that sound so meticulously different from one another despite remaining in a similar stylistic realm. You can listen to a song like “Gasoline Handshake”, a single-worthy effort that sees more of an emphasis on grainy garage-rock than blues, and get an impression of The British Columbians as a group that generates an intensely intricate but radio-friendly sound, but if you listen to the preceding “In the Leaves” first, then a more acoustical, folk-led vibe is bound to be more prevalent. You could also look at something different like the stereotypically enjoyable bluesy sing-a-long “Hail to the Rising Sun” or the subsequent “By and By”, a track which utilizes a slide guitar and organ excellently to complement some very southern imagery with its incorporation of folk, blues, and even country. Like “Gasoline Handshake”, “Ain’t No Direction” is another song that shines with an accessible demeanor and strongly expressive chorus, supplemented very nicely by some brass (courtesy of Miguelito Valdez) and congas (courtesy of Maurice Earle).

All of these songs are headed by Knox’s utterly sensational vocals, a clear-cut talent that can shift from an effectively gentle whisper to a spine-tingling howl in a heartbeat. Shades of Robert Plant, Chris Robinson, and Kristian Mattson are all present depending on the specific moment, but Knox’s voice is undoubtedly his own and he makes it shine even more through his impressive songwriting.. The only track in which his vocals do not appear on is the instrumental “The Rolling Tide”, a mid-album interlude of sorts that sees a thickly implemented bass line continuously support some excellent brass and guitar solos that resonate simultaneously for over five minutes. The brass squeals while the guitar and bass remain suave and seductive, a contrast that proves to supplement the song in excellent from. It is just one of nine indications of this excellent debut album of both Knox’s ability as a songwriter and the group’s overall talent. Simply put, this is a highly impressive debut chock full of tightly knit gems of blues-rock and folk. For fans of talented groups in the vein of The Black Keys and any others that successful choose to modernize blues-rock in a way that is neither shameless nor desperate, The British Columbians is a vital purchase.

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The British Columbians - Ain’t No Direction

Download audio file (bcol-ain.mp3)

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The British Columbians - By and By

Download audio file (bcol-bya.mp3)

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The British Columbians - Gasoline Handshake

Download audio file (bcol-gas.mp3)

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Like a swimmer dipping his foot into water to determine the proper temperature, many musicians comprehend the importance of testing the waters. Few of them instantaneously discover a stylistic solace, even if they are able to produce an eclectic number of genres flawlessly. For their own songwriting, they will never truly discover what style fits their own personal method best unless they are willing to try a variety of them. The Olympic Symphonium, a Canadian trio hailing from New Brunswick, tend to take this ideology to heart quite significantly. Between the three of them, the members have ties to nearly a dozen other groups, several of which are of different genres. Considering that the majority of their projects tend to produce vigorous forms of rock music though, it is somewhat ironic that their current primary project is focused on a gentle breed of folk, country, and pop that is accompanied by a delicate mixture of keys and acoustic guitars. The three multi-instrumentalists – Nick Cobham, Graeme Walker, and Kyle Cunjak – have written music where roaring guitars are at the forefront, others were a frail piano melody drives the track, and a few where an acoustic guitar incorporates itself within a mixture of both; it is simply a testament to the fact that these three young songwriters have tried their hand at a variety of genres.

When it all came down to it though, the trio’s decision to make The Olympic Symphonium their primary source of output came down to two things: the accessibility of collaboration and the stylistic flexibility that derives from it. Between gigs like Walker’s role as bassist in Grand Theft Bus, Cunjak’s occupation as an increasingly reputable photographer, and both Cunjak’s and Cobham’s positions as members of the Andrew Sisk-fronted Share (label-mates on Forward Music Group), one should be impressed that these three talented musicians find the time to sleep. They have all found relative success in their other projects, but the growing success of The Olympic Symphonium is most likely indicative of the trio’s high level of comfort when producing songs for it. Since the three members have such similar stylistic ideologies, they never are victims of forced stylistic decisiveness, instead embracing the luxury that they have in writing and performing songs in an atmosphere with no rules or guidelines. “It’s a lot easier to write songs for this band in a way,” Cobham said, elaborating by saying that writing for The Olympic Symphonium contains “a different aspect” of selectivity when compared to the other groups the members participate in. They are writing music in a vein most suitable for their personal tastes, resulting in something that is both resoundingly successful and methodically convincing.

Quite naturally, The Olympic Symphonium came together over a collection of tentative songs. All three members are constantly active songwriters, and that can that be both beneficial and detrimental in the grand scheme of things. If you are with a project that strays exclusively toward a certain style, some brilliant examples of songwriting may never see the light of day due to stylistic differences. This was the case on The Olympic Symphonium’s debut album, the suitably titled Chapter 1. Initially an experimentation of sorts to see if the trio’s collection of songs would be compatible with a focused and cohesive sound, it expanded into a full-time project after they saw the artistic success it brought. Clearly through experience, the members knew what success sounded like after participating in both successes and failures throughout their musical careers. When crafting the beginnings of Chapter 1, they realized that this project in particular had the capability to be a prominent achievement. Though it did not manage to bustle up a lot of attention outside of Canada’s three Maritime provinces, those lucky few who were able to obtain a copy were delighted to hear what was the work of genuine songwriters whose stylistic focus and level of songwriting were proficiently presented in a form that is rare among rookie and veteran musicians alike. Though it is now out of print, I recommend their debut to all those who can find it (go the MP3 route, for sure).

Continuing upon the success of Chapter 1 after its March 2007 release date, The Olympic Symphonium wisely felt that undertaking another chapter of work as soon as possible would be a wise move. They began work almost immediately, but chose to take their time in releasing the final result. Spreading their work out over several months of writing and recording, they took time in noting and expanding upon the intricacies of each and every work, just like any group of musicians who get along exceedingly well. The final versions of the songs did not appear until November 11th, when their sophomore follow-up, More in Sorrow Than in Anger, was released. With the album’s title derived from Shakespeare’s Hamlet, it contains the same sense of successful romanticized longing that Chapter 1 executed so well. One of the standouts, “Oh Dear”, makes for an extremely touching fusion of folk and country with aching accompaniments of slide guitar and banjo. “Oh my dear, your image is calling me,” Cunjak sings during the chorus. “Oh my dear, I’m falling.” The verses take a route similar to that of The Czars with a slow but delicately rousing assortment of acoustics and softly echoing bass, while the chorus sees an instrumental expansion that is additionally uplifted by the usage of simultaneous vocal harmonies and more prominent usages of the banjo and steel guitar. Overall, it is my favorite on the album for both its melodic brilliance and sheer amount of raw emotion conveyed.

One aspect of musicianship that all three members of The Olympic Symphonium clearly value is collaboration, and they once again showed no reluctance to turn to other brilliant musicians to aid in the progress of More in Sorrow Than in Anger. The constant percussive additions by Bob Deveau all throughout the album, the vocals of Catherine McLellan on the broodingly acoustical “Side by Side”, Kinley Dowling’s strings on the haunting “The Note”, and Rose Cousin’s duet with Cobham on the excellent “Dead Man’s Inn” are just a few of the primary collaborations throughout the album’s ten tracks. “We felt there were lots of layers there that we could use and we’re lucky enough to have lots of musical friends that are gracious,” Walker said. And even when the group leaves the somber territory of “The Note” and “Oh Dear”, they show that they are able to fill listeners with optimism on tracks like “Intentions Alone” and “Travellin’ Song”, the latter of which sees Cunjak’s upright bass working together with Cobham’s fleeting electric guitar to form a very impressive product. That the highly contrastable “Oh Dear” follows it up shows the diversity within the group’s songwriting to an excellent extent. Even upon first listen, More in Sorrow Than in Anger is a very rewarding listen that immediately sees the trio expand upon the promising ideas of their first album. Especially after repeated listens though, one will begin to fully understand how capable The Olympic Symphonium really are.

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The Olympic Symphonium - Oh Dear

Download audio file (osymph-ohd.mp3)

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The Olympic Symphonium - Side by Side

Download audio file (osymph-sid.mp3)

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The Olympic Symphonium - Dead Man’s Inn

Download audio file (osymph-dea.mp3)

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Forward Music Group

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Though it is a risky venture to release a double album even if you are a considerably prestigious artist, the bulk of such releases usually derive from artists who have already made a reputable name for themselves at a time when they can afford to take risks. I can use two classic albums from 1996 as an example; Smashing Pumpkins’ Mellon Collies and the Infinite Sadness and 2Pac’s All Eyez on Me were released by both artists at their commercial and artistic peaks. 2Pac already had a platinum album to his name, with his previous Me Against the World reaching #1 on the Billboard 200 upon its release. The Smashing Pumpkins’ prior album, Siamese Dream, also saw a similar range of success as it reached #10. The Pumpkins were the kings of alternative-rock at the time and 2Pac was the king of hip-hop during the same era; they had substantial room to take risks and both artists vastly benefitted from their decisions. Both double albums are now considered classics of their respective genres, but that is not often the case for other attempts when applied to a format that some find overwhelming due to aspects like length, stylistic repetition, and even price. It does not help that most of today’s listeners tend to be an impatient group, with it being a feat if many of them could even sit down and listen to an album in its entirety.

For an artist who opts to produce a double album, it is arguably vital to have a sense of confidence in regard to their own stylistic ability. Unless the songwriting can be widely classified as ingenious, few artists can release such a lengthy album without their style becoming tiresome by the last few tracks at best. This is one of the primary reasons why most double albums we see are from artists who have already had their successes and bumps in the road, as experience is the most imperative tool in crafting something successful of a lengthy duration. Pink Floyd had delicately constructed the epic release of The Wall in 1979 after already writing a slew of legendary albums like The Dark Side of the Moon and Wish You Were Here, releasing the renowned double album in ‘79 after 10 albums and 12 years of working together. Such a practice is most common amongst artists, with experience and success contributing to a high degree of confidence that consequently results in aspirations for a release of epic proportions. Keeping that in mind, for an artist to debut with a double album showcases a form of confidence that is rare even among the most experienced artists. Whether they can live up their own lofty impressions is often a flawed cause, but Benji Hughes’s debut, A Love Extreme, has pulled it off so seamlessly that it is not even slightly pretentious or overbearing. Instead, the native of North Carolina has produced one of the best debuts of 2008.

Within the 25 tracks that encompass A Love Extreme, Hughes’ topical tendencies stray anywhere from taking mushrooms before a Flaming Lips concert to being stood up at a Dairy Queen. “I’m more alternative than Suicide Girls,” he goes on to say during “The Mummy”, a rather apt indication of his cultural awareness. An awareness of so-called “hipster culture” is something that he does quite humorously, with the majority of it being in satirical form like the bouncy, topically self-explanatory “I Went with Some Friends to See the Flaming Lips”, the synthesized dance-pop of “Why Do These Parties Always End the Same Way?”, and the infectious electro-funk of “Neighbor Down the Hall”, a tale of the effect of loud music on an irritated landlord. His outlook on youth culture is amusing because he manages to make a mockery of it while not disbanding and dismissing it entirely, using realistically humorous anecdotes to often emit a central focus. Since it is a double album after all, this is wisely not the only prevalent topical focus. Hughes also has an extreme capability to craft resoundingly successful love songs, whether they are in the form of a ballad or an infectious interpretation of electronic pop. Tracks like “All You’ve Got to Do Is Fall in Love”, “Waiting for an Invitation”, and “So Much Better” variously employ gentle acoustic and key progressions, while a brisker effort like “Even If” showcases a suave mixture of key-led pop and jazz. All of the aforementioned provide excellent results though in a romanticized atmosphere, particularly the brilliant “Even If”, which finds Hughes treading successfully somewhere between The Walkmen and The Divine Comedy.

Though Hughes’ diversity causes comparisons to The Walkmen on “Even If” and even Wilco’s Jeff Tweedy on “So Well” to arise, his multifarious topical ability is more reminiscent of Stephin Merritt, the leader of the Magnetic Fields. Like Merritt, Hughes is able to simultaneously generate ironic, satirical, and witty remarks over a ceaselessly expanding array of musical styles. It also helps that his voice is similarly low, musky, and also highly melodic. One of the album’s catchiest tracks, “You Stood Me Up”, fuses power-pop in the verses with an utterly irresistible chorus that is largely dependent on electro-rock. Its humorous lyrical content is subtly accompanied with rejection and somberness though, as is more evidenced by a track like “All You’ve Got to Do Is Fall in Love” where he begins by asking (or pleading), “Wouldn’t it be sweet if you could be in love with me the way I am in love with you?” For a more direct relation to the Magnetic Fields, “Love is a Razor” reminds me of Merritt’s “Love is Like Jazz” for its witty metaphorical stance. “Love is like a razor, it’s cold and it’s sharp,” Hughes delicately croons over the gentle strum of an acoustic guitar, adding another one to a sprawling list of concurrently humorous and ironically tragic songs.

How so many songs can be simultaneously humorous and tragic is part of what makes Hughes’ album so impressive. The very same thing can be said for Magnetic Fields’ 69 Love Songs, another comparable epic that incorporated a massive array of styles, unpredictable topical frequencies, and amusing references to pop (and independent) culture. Many of us consider that album to be a classic As usual, you can find three recommended samples from the album below, but buying the other 22 tracks for less than $14 should be a no-brainer. It is quite impressive that Hughes has crafted 25 tracks for the album and none of them are lacking in either effort or quality. “When it was time to put it all together, we didn’t want to leave out too much,” Hughes replied when asked about his choice of releasing his debut as a double album. “It just didn’t seem right to leave out too much because it represented where we were when we began all the way through until now.” For the sake of his listeners, it was certainly a wise decision, as each and every track is clearly a great effort that most often results in a unique success.

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Benji Hughes - Even If

Download audio file (bhug-eve.mp3)

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Benji Hughes - You Stood Me Up

Download audio file (bhug-you.mp3)

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Benji Hughes - All You’ve Got to Do Is Fall in Love

Download audio file (bhug-all.mp3)

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New West Records

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The divergence of folk music has been a common observation among fans of independent music for the past decade or so. Whether one most prefers the interpretation of Eastern European folk by the likes of Beirut and Gogol Bordello, the imaginative and somewhat historically narrative folk of the Decemberists and Sufjan Stevens, or the amusing usage of the term “freak-folk” that describes the likes of Devendra Banhart, Joanna Newsom, and Akron/Family, the genre inarguably remains as one of the most domineering styles of utilization for independent artists due to its high level of flexibility and room for creativity. A decline in the popularity of contemporary British folk music has been somewhat noticeable over the past several years, but it certainly does not coincide with a decline in quality. As previously featured British acts in the vein of Tunng, Hush the Many (Heed the Few), and Richard Hawley have shown with their variety of respective styles like experimental-folk, fusions of chamber-pop and folk, and traditional folk, there is no reason to have any fear regarding the cultural state of the genre. Such proficient interpretations propelled their releases into being a few of my personal favorites from their respective years. To add another one to that list, Jonquil is the most recent British folk group to showcase their talent in dazzling form.

Unlike many other British folk acts who can be easily grouped into either a form of traditional and experimentally unconventional, Jonquil are resoundingly unique in the fact that they tend to incorporate both qualities. They have the same narrative edge of traditional British songwriters in the vein of Billy Bragg and Bert Jansch, but their musical and structural tendencies tend to fall within a realm that is more comparable to experimental artists like the aforementioned Beirut and Tunng. With their lyrical and vocal approaches recalling a more nostalgic feel, the fact that their music often remains modernistic and synchronized creates a uniquely enthralling sound that has brought the group critical acclaim ever since the release of their first album, Sunny Casinos, in 2006. The debut received praise from most of those who heard it, but a limited release caused the group to not truly see their first signs of deserved success until the release of their second album, Lions, the following year. Originally consisting as a collection of home recordings by lead singer and songwriter Hugo Manuel, Lions went on to establish the six-piece as one of the most promising acts in their local Oxford music scene. It proved to be a successful departure from the more atmospherically enabled Sunny Casinos, a release that contained some impressive production and innovative ideas but failed to show the group’s high level of songwriting in its true light.

After the group expressed their mutual desire to stylistically transcend into a more exuberant form of songwriting that proved more infectiously demonstrative of their ability to combine elements of traditional folk with experimental interpretations of pop music, success started to come almost immediately. The decision to make a stylistic transition also had to do with the reception Jonquil was receiving live when playing Sunny Casinos, as the members felt that a stylistic shift would result in a more excitable and engaged demeanor from the audience. “It was very much a product of the studio,” Manuel said of Sunny Casinos in an interview. “As soon as we started trying to reproduce that on stage, we realized it wasn’t really what we were after.” As heard from the self-titled track on Lions, it is very easy to notice the poppier demeanor that the group had chosen to undertake. They are clearly one of the few groups out there who are able to make an accordion progression irresistibly infectious, as the mixture of Manuel’s sonorous vocals, his accordion, and an abruptly emerging rhythm section creates a sing-along of sorts that certainly coincided with Jonquil’s ideology to make their performances more entertaining. “Our shows are all about having fun and we wanted to reflect that in our music,” Manuel said of Lions. As you can see with the album’s title track alone, the transition was certainly a success.

Now that they have had over a year to get accustomed to their stylistic alteration, many wondered what would be next for the young six-piece from Oxford. Their new EP, Whistle Low, is the first indication of that, showcasing the most confident and consistent stylistic focus from this tactful group yet. The opener, “Whistle Low”, sees Manuel’s vocals take a fluid approach over handclaps and the swift progression of an acoustic guitar, later to be complemented by an electric guitar and subtle whirring of synthesizers. “In the shade where no one knows, in the shade he whistled low,” he sings, sounding remarkably like XTC’s Andy Partridge in the process. The XTC comparison here may catch some off-guard initially, especially those who heard the first and second albums, but the style is certainly a stroke of success. The second section of the song is tranquil with two multiple guitar progressions, one electric and one acoustic, occurring concurrently as the vocal approach becomes more sporadically involved then before. “Putting Names to Faces” is also an outstanding effort for some excellent uses of percussion and structural shifts. Just shortly after the two-minute mark occurs, a hushed melody led by a harp-like instrument emerges that re-establishes the sheer beauty of the track. “Night Time Story”, as the name indicates, is a lush ballad that sees Manuel’s gentle voice soothed by an intricate acoustic progression, a simplistically reflective electric guitar, and a series of strings that surface at the conclusion to wrap up yet another beautiful effort.

For the seven songs presented on Whistle Low, it is quite remarkable that there is not one misstep to be heard. Though it only spans slightly more than 20 minutes, there is a prevalent sense of capitalization contained within the short duration; the group’s constant expansion of songwriting ideas is ceaselessly impressive, even on tracks like “Water is Yours” and “Parasol” where they opt for the more atmospheric ideals of their first album, Sunny Casinos. In fact, tracks like these add to the overall feel of an EP. Due to the short duration but exceptionally high level of songwriting presented, I can’t help but feel a bit teased. If anything though, it has made me even more excited for the eventual release of Jonquil’s third album.

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Jonquil - Whistle Low

Download audio file (jquil-whi.mp3)

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Jonquil - Lions

Download audio file (jquil-lio.mp3)

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Jonquil - Putting Names to Faces

Download audio file (jquil-put.mp3)

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Try Harder Records

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Some of the most talent musicians in the world remain practically unknown despite an abundance of quality material. There is no concise explanation for it, even if the most common response is related to the lack of accessibility in actually obtaining the music. It simply proves that recognition, while beneficially attributed, has little merit in determining an artist’s level of talent or commitment. Today’s feature chronicles two artists at dramatically different stages in their music careers. One, Piano Magic, has been producing quality music for over a decade with an undeservedly low amount of recognition, while the other, Braids, consists of four 19-year-olds who are just beginning to discover what the music industry is all about. For better or worse, it is certainly a process worth experiencing. One can only imagine the words of advice a group like Piano Magic could give Braids; it would surely be an extraction of wisdom. Regardless of experience though, both groups have recently released an excellent EP worth mentioning.

Starting with the more experienced, Piano Magic is a London-based collective of musicians that has revolved throughout their 12 years of existence. Glen Johnson, Dominic Chenell, and Dick Rance were the original members upon their formation in 1996, though Johnson is the only one currently remaining. He served as the lead songwriter and frontman after Chenell and Rance had left by 1999. Johnson’s leadership steered the group in a more conventional direction, as their first several years saw a higher emphasis on a style of experimental pop music that found difficulty amassing a steady fan base. At this point, the most common comparison was to that of Kraftwerk and other electronically-enabled forms of Krautrock. After Johnson took control and assembled a new lineup though, a more accessible stylistic transition was made to a highly stylized fusion of post-punk and electronic pop that brought on new comparisons to stylistics molders of the late ‘70s and early ‘80s like Joy Division and New Order. Keeping in mind that New Order derived from the demise of Joy Division, the current sound of Piano Magic reminds me most of Electronic, an offshoot of New Order that featured the superduo of Bernard Sumner (Joy Division/New Order) and Johnny Marr (The Smiths). The duo took their fans by storm in 1991 when their classic self-titled debut disclosed an infectious mixture of post-punk and electronica, two styles that Piano Magic implement flawlessly into their sound.

In maintaining their ceaselessly prolific output, Piano Magic released a new EP, Dark Horses, in October. With nine full-lengths, a handful of EPs, and a countless number of singles and collaborations under their belts, the new EP simply attests to the continuous stream of quality that the group successfully strives for. It has been a common practice for Piano Magic to recruit new vocalists for a release, as they even helped convince ‘60s folk artist Vashti Bunyan to commence her recent resurgence by supplying her first vocal recording in over 30 years for Piano Magic’s 2002 album, Writers Without Homes. As a result, I must commend Johnson for being consistent in bringing back the angelic vocals of Angele David-Guillou for Dark Horses. The Klima vocalist and solo performer had previously appeared on Piano Magic’s 2005 album, Disaffected, and contributed immensely to the beautifully melodic sound presented. Within the span of two years from Disaffected to 2007’s Part Monster, their ninth full-length, Johnson also released a solo album and the group embarked on a world tour. Somehow though, they still managed the time to write and record the very enjoyable Dark Horses EP.

Limited to 1000 copies, Dark Horses features four tracks that embody the group’s sound in extremely complementary form. “Vacancies” features an infectiously haunting mixture of jangly guitar riffs, subtle synths pads, and a continuous bass line. David-Guillou’s vocal approach here may remind some of Black Box Recorder’s Sarah Nixey, especially when considering that the backing music is rooted in swift arrangements of whispery synths and jangly guitar progressions. “Dark Horses” is noticeably darker with a predominant rhythm section. Johnson’s eerily satisfying vocals are reminiscent of Robert Forster, and The Go-Betweens comparison does not stop simply at the vocal front. This track encompasses a similar touch of dark industrial-rock with near-spoken-word accompaniments that made the legendary Australian group’s sound so memorable. “Stations” also employs an eerily nocturnal feel, once again complemented by a steady mixture of heavily reverbed post-punk guitar lines and a prominent rhythm section. For those getting first acquainted to Piano Magic, I would recommend checking out either Low Birth Weight or Artists’ Rifles. However, to get a grasp on their current sound, Dark Horses is an impressive effort that solidifies the belief that Johnson and co. are one of the most consistent groups that, for some reason, remain criminally overlooked.

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Piano Magic - Vacancies

Download audio file (pmagic-vac.mp3)

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Piano Magic - Dark Horses

Download audio file (pmagic-dar.mp3)

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Piano Magic - Stations

Download audio file (pmagic-sta.mp3)

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As I make the transition from a well-traveled group with dozens of releases and several international tours to their name to a four-piece where not even one member is of legal US drinking age, one must keep in mind the developmental process of a band. Piano Magic alternated their lineups before they became stylistically comfortable, leading to a prolific number of quality releases that any musician would respect. When listening to Braids and noticing their prevalent talent, I can’t help but wonder how they will evolve throughout the coming years together, perhaps both stylistically and personally like Piano Magic. To date, the only change they have made pertains to their name (from The Neighbourhood Council to Braids). Listening to their self-released EP, Set Pieces, though, neither their approach nor make-up would benefit from a change at this point. Whether you are referring to 19-year-olds or 49-year-olds, the material presented here is startlingly innovative enough to captivate audiences whether they have prior knowledge of the band’s teenage status or not. When given Braid’s average age, one may have a tendency to make a generalization in regard to their sound. Generic indie-rock perhaps, as an ode to those conventional pop bands that everyone knows and loves? For our sake, it is quite the contrary. Not only are the able to craft 7+ minute experimental-rock epics with ease, but the ideas, songwriting, and high quality of performance are all aspects that truly define what it means for a new act to strive fearlessly for creativity. After opening for acts like Deerhunter and Times New Viking, it seems as if a few of the most prestigious names in indie-rock feel the same.

Just like Piano Magic, Braids are beginning their young careers ambitiously with a style of experimental rock music that demonstrates their unwillingness to conform to a conventionally appealing, radio-friendly atmosphere. Luckily for them, their approach is within the same realm as adored contemporary artists like Animal Collective, Arcade Fire, Atlas Sound, and other staples of indie-rock that have found momentous success through extremely innovative means this past decade. They recorded Set Pieces live at the University of Calgary’s radio station and released it in late June, though fans are just starting to catch on after this month’s release of another EP, Live At CJSW. The opening track on Set Pieces, “Liver and Tan”, is pure 9-minute goodness. A twinkling guitar progression carries the initial strum and a steady rush of percussion eventually increases in complexity and involvement. Light piano chords supplement the onslaught until about a minute in, which is when the piano abruptly replaces the guitar as the leading force. The guitar then reverts to a series of slide patterns, leading the way for each instrumental accompaniment to become involved in equal form.

The major transition point in “Liver and Tan” occurs at 2:15, when a serene break in rhythmic instrumentation commences a three-minute build-up that later introduces several overlapping vocal melodies which brilliantly usher their way in toward the instrumental accompaniment. The vocal delivery sounds like a tribal chant of sorts, and I can’t help but saying that the vocals remind me of what it would sound like if Régine Chassagne (Arcade Fire) attempted to imitate Avey Tare (Animal Collective). There is no real imitation here though for the Calgary natives, as the entirety of Braids’ EP is sprawling with original ideas that lead me to believe that this group is easily one of the most promising out of the already-fledging Montreal music scene. Oh, by the way, check out “Lemonade” on their MySpace. It may be my favorite one yet from this promising four-piece.

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Braids - Liver and Tan

Download audio file (braids-liv.mp3)

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Braids - She Brave Soul

Download audio file (braids-she.mp3)

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Braids - Vendevel

Download audio file (braids-ven.mp3)

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MySpace

Since they self-release their own material, e-mail the band at theneighbourhoodcouncil@gmail.com if you want a copy of either EP.

It says a lot about a band’s confidence when they opt to choose the most natural settings possible for the recording of their music. Recording studios with precisely defined dimensions and millionaire producers have certainly spawned many classic records that are today considered touchstones, but when the level of songwriting is impressive enough so that certain effects and enhancements are not required to manufacture a classic release, I can’t help but admire the sheer quality of something so raw and undeniably ingenious. By this type of production I am not referring to scratchy lo-fi basement recordings where a handful of people somehow classify discordance as “amateurishly appealing”, but instead the type of production where a genuine effort shows that one does not need a shimmering studio supplied by a fancy label to craft a masterpiece. Mason Proper are one of the finest bands to recently showcase this selfless principle by releasing one of the most imaginatively addictive albums of the year. Their second album, Olly Oxen Free, was recorded in a small wooden house that the five-piece rented out for one month. Located on the corner of a very busy street, the ambience of cars was apparently an unavoidable aspect of production that the group ended up successfully filtering out; it is just one of the many enjoyably fascinating tidbits from the production process of a group that correctly perceives that their music is good enough to stand on its own.

Initially using the high-end Apogee Ensemble to record the tracks for < i>Olly Oxen Free, Mason Proper returned it after 14 days to cut costs and move forth. They reverted to the PreSonus FireStudio, a less prominent audio interface model that still proved to be a big step up from their previous endeavors for the album’s demos. Much of the initial recordings were recorded on a built-in computer microphone, with some of those clips making their way onto the final release. One example is the opening “Fog”, a standout track in which the lead vocals of Jonathan Visger were recorded on his computer microphone before the final track was even prepared. Thanks to the studio magic of producer Chris Coady (TV on the Radio, Blonde Redhead, Yeah Yeah Yeahs) though, he made the vocals appear flawlessly on the exhilaratingly haunting effort. According to Visger, there was an inherent reason for this. “I figured that you never get it more right than the way you sing it the day you wrote it,” he said in an interview that even further detailed the album’s interesting recording process. “It is a testament to his [Coady] mixing skills that he got them to sound so good.” Several of the guitar progressions on “Downpour” were also recorded this way, an arguably more impressive feat considering the effectiveness of the choice in the echoed guitar tone.

While the recording process of an album can certainly be intriguing, the reason I have so excitedly wrote about the minor details above pertains to the final result of Olly Oxen Free. Not only does it represent the true dedication and musicianship of tactful independent musicians, but the songwriting itself is strongly indicative of the skill that this particular group has. I attempted to think of a better phrase, but the term their press release uses suits them excellently: “charmingly weathered”. The songs reap greatly from this raw yet refined style, as Mason Proper’s material finds an outstanding mid-point between ambitious structural accompaniments and accessible melodies. There is no extraneous content to be found on any track within Olly Oxen Free, with the only additions being samples on a track like the bizarrely brilliant “Downpour”, where a booming bass line supplies the lead over foreign vocal samples that prove neither distracting nor desperately implemented. Instead, they contribute immensely to the haunted aroma of the track, an aroma that is further complemented by an abundant use of reverb and erratic arrivals of assorted instruments; when a guitar progression enters, a brass section quick to follow with a polyphonic accompaniment that consists of an arpeggio and a smooth, near-improvised solo. As one of my favorite tracks on the album due to its astute execution, it is also arguably the most unconventional when compared to other highly accessible gems like “Point A to Point B” and “Lock and Key”.

While the Michigan-based Mason Proper prove that they can produce innovatively gratifying indie-rock in an unconventional sense with unpredictable tracks like “Downpour” and the success of audible communication between boisterous guitar progressions, police sirens, and eerie sample-based laughter in “Shiny”, they also show on Olly Oxen Free that they have no issues constructing a radio-friendly atmosphere where irresistible hooks are occasionally more prevalent than impressive structural experimentation. Now, that is not to say that some tracks are predictable. In fact, I cannot think of even one on Olly Oxen Free that is. Even the sensational “Point A to Point B” shows no reluctance to take time building to its peak, first showcasing the lead guitar progression and set of accompanying keys over Visger’s hushed vocals before treating listeners to the meat of the track. The excitable chorus does not occur until the song is halfway over, seeing Visger transition into a yelp over the same progression that graced the beginning of the track. “I travel from point A to point B to point C!” he exclaims, “trying to fall from grace along the way to get lower.” I expect it to receive considerable airplay on stations geared toward indie-rock, at least so that others can give this excellent album the chance it deserves.

Like the styles and structures presented on the album, Visger’s vocals also prove to be enjoyably diverse throughout the release; “Alone” recalls The Pixies’ Frank Black to a startling extent with Visger’s half-spoken delivery, the hard-rock edge of “Shiny” is reminiscent of something along the lines of Kings of Leon’s Caleb Followill, and the excitably brooding composure of “Fog” reminds me of Modest Mouse’s Isaac Brock with Visger’s yelps and background mutters. The vocal comparisons are fun to spot throughout the album, but they are not done to mimic anyone specifically. His vocal deliveries simply fit the styles on each track flawlessly, creating an indie-rock smorgasbord of sorts that lasts throughout the entire duration of Olly Oxen Free. As far as melodically accessible indie-rock acts go, you will find few as promising and innovative as Mason Proper.

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Mason Proper - Point A to Point B

Download audio file (mproper-poi.mp3)

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Mason Proper - Fog

Download audio file (mproper-fog.mp3)

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Mason Proper - Downpour

Download audio file (mproper-dow.mp3)

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Longtime fans of punk music would likely consider it an unwarranted insult if one related the duration of a song to the peak of the listener’s attention span. From legendary groups like Wire to the aptly named Minutemen, some of punk’s greatest innovators have made their mark by producing hundreds of songs under the standard length of three minutes. Contrary to the beliefs of some though, it was not done because a particular fan base had the attention span of a young child. But rather, the excitable nature of the music was designed best for concise displays of brilliance that allowed each song to flourish without unnecessarily overburdening attempts at structural or melodic transitions. Consisting in the same realm of electronic music that would be most commonly defined as the most “intelligent” of its kind, Andrea Mangia is crafting an impressive array of work under a similar ideology with his Populous moniker. However, instead of employing raucous guitar riffs and a vivacious rhythm section to supplement his sound, his stylistic leanings gravitate toward electronic and, more specifically, IDM. IDM once again reminds us of that “intelligent” tag, further reinforcing the fact that duration holds no relevance to a listener’s personal capacity. Mangia’s songs rarely exceed three minutes, but he manages to make each and every second count in his successful attempts to create audibly soothing atmospheres in a spectacular manner.

While it is true that only four of the sixteen tracks on the third release from Populous, Drawn in Basic, exceed three minutes in length, it holds little relevance apart from the fact that it provides an enriching example of how Mangia is able to create satisfying efforts in such a small amount of time. It is not that he has always made use of this formula; his debut in 2002, Quipo, was typical in length for its stylistic groupings of warmly textured electronic-pop and 2005’s Queue for Love was similar in addition to the fact that it proved to be Magnia’s most stylistically ambitious with admirable uses of soul and jazz within his familiar display of ambient electronica. Proving synonymous with the way his past two releases have been at least somewhat stylistically different from one another, the unique aspect of Drawn in Basic applies more to the delivery that Magnia has opted to take instead of the stylistic territory he has chosen to explore. He still employs a similar form of electronica that borrows conceptual ideals from genres like shoegaze, dream-pop, and even jazz, but Drawn in Basic contains a higher emphasis on pop music than its preceding releases, thanks mainly in part to a newly recruited vocalist by the name of Michael McGuire, better known as MC Short Stories.

As a vocalist whose high-pitched, boyish vocals add a plethora of new hooks to Magnia’s style of electronica (one of which was already very melodically appealing), McGuire’s addition also does wonders in exploring the overall diversity on an album like Drawn in Basic. At its heart, it is an exhilarating late-night listening experience that capitalizes on Magnia’s ability to craft enthralling melodies and captivating atmospheric elements within a scope that often falls under three minutes. Often, some listeners get intimidated by the sheer length and matter of build-up in ambient electronica, but Magnia must have understood that the effect of pop-oriented vocals over the sounds of twinkling electronica has an undeniable effect on a song’s durability. “Only Hope”, one of the album’s most structurally conventional efforts, contains a soothing series of subdued keys over a whirring synth pad as the relaxed composure of McGuire stays true to the melodic composition at hand. The chorus in this track shows the listener specifically of McGuire’s true influence on Magnia’s sound. Instead of relying on instrumental aspects to create a successful transition, the use of vocal harmony and intensified ardency are both simultaneously implemented to establish the track’s primary hook. Magnia’s most ambitious songwriting arrives on instrumental gems like “Days”, “Younger”, and “Raimondo”, the latter being a very interesting track whose 1:03 length just simply begs for more. This is the only fault I have with some tracks on Drawn in Basic; a few just end too soon and fail to capitalize on a very innovative premise.

With Drawn in Basic and all of Populous’ previous albums being released by the Morr Music label, it is no surprise that an ambitious electronic producer/songwriter like Magnia is one of the current mainstays. The Italian native’s mixture of dreamy shoegaze and minimalistic IDM is prevalent on a track like “Faithful”, while his best showing of pure electro-pop is most prevalent in the gripping “Royal Gold”. The amount of diversity seen when comparing these two tracks alone is astounding, especially when considering that a casual observer would note them as being in a similar realm. But like all who value the varying components of sub-genres within electronica, it is easy to detect Magnia’s sheer ability. While not exactly coinciding with Junior Boys’ standard of utilizing a very bustling rhythmic accompaniment over their synth-led arrangements, Magnia and McGuire prove most suitable for a track like “Royal Gold”. The melodic content is often simplistic, but the very subtle melodic shifts and atmospheric additions make for a ripple effect as they all come together to craft something of gracefully blissful nature. And this is exactly what the bulk of Drawn in Basic is: a wildly impressive display of songs that are as effectively atmospheric as they are melodically stimulating. Based on his diversity as an artist and ability as a songwriter, Magnia remains a name to look out for in the field of diversified electronica.

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Populous - Royal Gold

Download audio file (popul-roy.mp3)

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Populous - Raimondo

Download audio file (popul-rai.mp3)

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Populous - Only Hope

Download audio file (popul-onl.mp3)

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A prevalent veneration for the past can certainly be detrimental to an artist’s work if their techniques are either outdated or generic, but holding such a high esteem for successful precedents can also prove to be quite beneficial when the artist maintains a constant yearning for innovation and quality. This is especially true in the field of music, where artists can flawlessly imitate a style performed regularly over 40 years ago due to the technological resources we have today. Many musicians and fans alike feel that this modernistic advantage causes some artists to overly regard style over substance (the actual songwriting) and this is very true, but it also reminds us how important songwriting and natural chemistry is in appliance to the creation of music. With many computer programs that replicate reverb, droning, and other aspects of audible production with names of presets that are precisely indicative of certain glaring genres like “dream-pop”, “shoegaze”, and “hard rock”, it is not entirely difficult for budding artists today to attempt any style and the accustomed method of production within it. This can be a productive measure for the sake of accessibility because music fans can now pursue songwriting and realistically attempt to sound like their valued influences. Its detriment, however, arrives in the fact that many may regard it too highly and dismiss the importance of songwriting and creativity altogether.

While it is extremely noticeable that The Harpeth Trace employ a stylistic formula that is highly reminiscent of the past, they are one of the few acts that chooses to focus on songwriting to an equal or higher extent. Their interpretation of subdued ‘60s pop is undoubtedly one of the most accurately enjoyable versions I have heard in quite some time, and this is not even the main reason why I am so hooked. Instead, it is the band’s magnificent songwriting that most consumes me. While maintaining a high degree of pure nostalgic bliss, this trio-gone-duo utilizes a wide array of moods and emotions within a consistent showcase of instruments that complement an anecdotal lyrical approach with rich imagery and intelligent metaphorical allusions. Multiple types of guitars with accentuated delay and reverb, weightless backing keys, and a delicate rhythm section are the primary contributors to most of the tracks on the group’s full-length debut, On Disappearing, and the three members did an excellent job of infusing a sense of equality within them. On a track like “Who Knows Where Are You”, though, the group relays their atmospheric brilliance with additional elements like a whirring synth pad that consumes the background as a clip of a bird chirping as played as the gentle rhythm section incorporates itself over Josh Kasselman ‘s caressing vocals. It is just a single example of many throughout an album full of memorable ones.

Keeping in sync with their steady grasp on the past, The Harpeth Trace take their name from Kasselman’s former childhood street name (Harpeth Trace Drive). If he added his first pet’s name, I wonder if the name would have ended up looking like something on a porn star name generator. That interesting tidbit aside, the initial formation of The Harpeth Trace revolved around the workings of singer/songwriter Kasselman, bassist/guitarist Rune Freeman, and drummer Robert Poynter, three friends from L.A. and Phoenix who had decided that their stylistic direction of relaxing ‘60s pop and lo-fi alternative was the right way to go. Freeman left in late 2005, but Barry Poage was quick to take over his role. Capitalizing on their stylistic vision, The Harpeth Trace released their first release in 2005, entitled Man and the Cousin. Drawing critical acclaim for its timeless ability to capture nostalgic pop music while remaining within the realm of contemporary production, fans of psychedelic and ‘60s pop took notice and the group found a burgeoning fan base at their side as they began work on their full-length. Contrary to the recent release date of On Disappearing, the album was actually finished in December of 2006. Kasselman, though, opted to release the album in January of 2008 instead because he spent the majority of 2007 on a trip across Thailand, Laos, and Cambodia.

Unable to support the album from such a distant location, the decision to wait and release the album after he returned to US now looks like a wise one. After all, On Disappearing is one of those few debuting full-lengths that simultaneously offers a focused style and excellent songwriting that supplements that style in ways that are both innovative and captivating. Kasselman truly makes his mark as the group’s songwriter and vocalist, his airily high-pitched vocals being somewhat reminiscent of The Clientele’s Alasdair MacLean. The stylistic comparison to The Clientele is prevalent as well due to their mutual reverence for ‘60s pop, but I find The Harpeth Trace to have a significantly more subdued sound that is more focused on gradually evolving guitar progressions, intricately evolving rhythm sections, and progressive layers over The Clientele’s sweeping string arrangements and, in comparison, more bustling rhythm sections. For instance, one of my favorite tracks on On Disappearing, “Dead Eyes” begins with a single guitar progression before it gradually expands into an intricate array of multifarious guitars, bass, and percussion. The intensity of the group’s rhythm section is often indicative of the overall instrumental involvement, with the transitional movements in the bass lines and rhythmic spurs often establishing stellar hooks over impeccable harmonizing; this particular technique occurs in “Dead Eyes” around 01:55 after the keys emerge as yet another stellar accompanying attribute.

While “Dead Eyes” proves rather accessible for its ethereal grasp of ‘60s pop, another track like “Who Knows Where You Are” infuses psychedelic pop with minimalism (complements of the chirping clips) to create an outstanding effort that adds more depth and experimentation to an album that already boasts a nice amount of it. After the whirring synth pad becomes more subdued, a guitar progression emerges for the elegantly applicable chorus, one that features multiple vocal harmonies and a somber bass line that truly takes over the melodic bulk in fantastic form. “Georgia May”, while still in the vein of ‘60s pop, is the briskest effort on the album with a tinge of folk and country in Kasselman’s altered delivery. In terms of additional instrumentation, strings make a dramatic appearance toward the conclusion of “Kodachrome Wolves” to establish it as a graceful concluding effort alongside the sparse mixture of keys and acoustics in the beautiful closing “Hotel Bristol Forever” to wrap up an excellent album. Currently, after the departure of Freeman and recently Poynter, The Harpeth Trace is down to a duo with Kasselman and Poage. Still, as their web site states, they are already in the studio working on another album and “maybe even two”. Based on the effort of On Disappearing alone, that sounds like great news to me.

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The Harpeth Trace - Dead Eyes

Download audio file (htrace-dea.mp3)

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The Harpeth Trace - Georgia May

Download audio file (htrace-geo.mp3)

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The Harpeth Trace - Who Knows Where You Are

Download audio file (htrace-who.mp3)

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Within the packaging of their debut album, the Minneapolis-based Dark Dark Dark opted to include an eight-page booklet of photographs that featured a few pictures of the group in settings that proved more reminiscent of the late 19th century than the present, a stark contrast from the technologically dependent promo shots that most bands utilize today. Courtesy of photographer Timothy G. Piotrowski, the style most often indicated a nostalgic feel that was primarily attributed to his fascinating use of blended monochromatic and yellow shades. It also helped that the individuals featured in the photos usually had no visible expression on their faces whatsoever, alluding to the stereotypically deadpan stares that were so typical of the preceding eras. As evidenced by the sample exhibitions on Piotrowski’s site and this freely distributed shot of Dark Dark Dark, the photographer utilizes contemporary photography techniques to put a new spin on styles that may be deemed outdated. But this big question will likely loom in the minds of first-time listeners: What exactly prompted Dark Dark Dark to feature this photographic style so vividly in their first full-length release? When listening to their music, it should make sense. Like Piotrowski’s photography, the group takes advantage of all the resources that modern music technology has to offer them to create a stirringly nostalgic sound that becomes all their own.

A four-piece at its heart, Dark Dark Dark consists of an instrumental arsenal that is not typical of most indie-rock favorites. In addition to the rhythm section of bassist Todd Chandler and drummer Martin Dosh, the group maintains a heavy focus on cello, banjo, accordion, and piano. Jonathan Kaiser takes control of the cello, Marshall Lacount strums the banjo, and Nona Marie Invie makes use of her skills at piano and accordion. LaCount and Invie prove to be unconventionally resounding vocalists, serving as a double-edged sword with overlapping melodies that capitalize on an appealing formula that blends irresistible vocal harmonies with instrumentation that ranges anywhere in the mood palette from ominous to optimistic. In addition to Chandler, these three are the constant members, though Dosh contributed some excellent drumming to the entirety of the group’s engrossing debut, The Snow Magic. The name Martin Dosh may sound familiar to fans of percussively-based electronica; the Minnesota native has been regarded as a “superstar” prodigy for his innovative fusion of post-rock, electronica, and a consistently emphasized form of percussive involvement. Signed to the Anticon label in 2003, he has released four impressive solo albums, the most recent of which - Wolves and Wishes - was released in May of this year.

In addition to the collaborations from Dosh, the steady members of Dark Dark Dark remain just as interesting. Bassist Todd Chandler is directing and writing a film project by the name of “Flood”, featuring an accompanied score by his very own band. Subsequent to his work in another locally esteemed Minneapolis-based band by the name of Woodcat, LaCount worked on Dosh’s Wolves and Wishes on a handful of tracks, one being “Kit and Pearle” with Andrew Bird. Invie contributed vocals on that very same track, already acquainted with LaCount after the duo had formed Dark Dark Dark in 2006. Dark Dark Dark’s debut, Love You, Bye was an EP that was released in October 2007 and recorded by now-cellist Jonathan Kaiser. After Kaiser pushed his production duties aside to focus entirely on cello, the group handed the role of producer to Robert Skoro for their debut full-length, The Snow Magic. A new staple of the Minneapolis music scene due to his intuitive mixing abilities, Skoro also is an aspiring solo songwriter whose material can be checked out here. To map out an ambitiously stylistic album like The Snow Magic, I imagine that it may have looked initially intimidating to the young producer. Looking at the final result though, I may not have given him enough credit; Skoro did a fantastic job. The atmosphere that he and the band have instilled into this memorable debut is extremely commendable with a consistent vision that goes hand-in-hand with a batch of great songs.

As evidenced by their name alone, the fact that Dark Dark Dark’s stylistic territory treads on the gloomy side of things should not be surprising. Any other conceptual focus would be a mistake though, as the instrumentation glides cohesively with the content at hand. “Dig a Grave” features a gradually expanded melody that is accentuated by the simultaneous sounds of an accordion and cello. “Your ghost can stop and stay for a round, I would truly be living it up,“ LaCount sings, adding a bit of ironic humor to a song centered on the question of whether being haunted by a loved one is so bad after all. “Junk Bones” is a more melodically exuberant track that, once again, centers on the topics of ghostly spirits and death. Led by Invie’s creakily enjoyable vocals, it features an excellent chorus that sees a simultaneous collision of an accordion and reverbed keys. “All that rope you hang your neck with,” she repeats after the chorus, an effective measure of words considering these preceding lyrics: “Now you’re a ghost, you can find a home away from here; I’ve always wanted to find a home away from here.” The fact that the narrator expresses jealousy for the deceased because of her miserable state of existence is tragic, but the somewhat jovial melody makes the track fulfilling and undeniably interesting.

“Ashes”, the opening track on The Snow Magic, also serves as one of the most captivating efforts on the album. Dark Dark Dark once again takes a look at the effects of death – this time at the spreading of ashes – over a swirling instrumental accompaniment and pair of dual vocals that attribute nicely to the vigorous tenacity of the track with the ardent deliveries of LaCount and Invie. “I know you want to scatter my ashes, I know you want to spread them far and wide,” Invie sings. “Don’t scatter my ashes; I want to run by the seaside.” The content, of course, may be too dark and topically repetitive for some, but the musical style fits it well and anything else may have come across as pure desperation. In terms of dual harmonies, it would be difficult to argue against “The Benefit of the Doubt” to be one of the most impressive efforts in that regard. The instrumentation, led by a cello-accordion combo similar to “Dig a Grave”, is bare compared to some others, but it proves wildly effective as it places an emphasis on the vocal harmonies of LaCount and Invie. To be warned, The Snow Magic is not the most accessible or instantaneously gripping album out there, but successive listens will undoubtedly reward listeners in a way that few debuts will this year.

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Dark Dark Dark - Junk Bones

Download audio file (dark-jun.mp3)

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Dark Dark Dark - Dig a Grave

Download audio file (dark-dig.mp3)

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Dark Dark Dark - Ashes

Download audio file (dark-ash.mp3)

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Blood Onion Records

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Like many college students in October, this past month - for me - has been the busiest of the year in terms of workload. As a result, I find myself being extremely grateful for how easy it was to discover such a great variety of bands in the past month. I constantly have material that is waiting to be considered for a feature, but I often have to wade through it a bit to find something that piques my interest significantly before I get to a few select choices that I feel will contribute nicely to the site. As evidenced by the quality of October’s compilation, I am very proud of the groups featured here, many of which I just stumbled upon by chance. A lot of great stuff is in this collection, whether it came from Norway, France, Montreal, or Brooklyn. With that being said, I hope you enjoy it.

01. Little Joy - The Next Time Around (post)
02. Love Is All - A More Uncertain Future (post)
03. Malajube - Pâte Filo (post)
04. Jolie Holland - Mexico City (post)
05. Peter Broderick - Below It (post)
06. Begushkin - Murderer (post)
07. Katzenjammer - Tea with Cinnamon (post)
08. Rockettothesky - Grizzly Man (post)
09. {{{Sunset}}} - Zombies (post)
10. Helios - Hope Valley Hill (post)
11. Peter Moore - Sister Sunshine (post)
12. Winter Gloves - I Can’t Tell You (post)

DOWNLOAD ENTIRE COMPILATION>>> (55.2 MB, .RAR)