Reviews

It’s one thing to discover a band through their recorded material and consequently see them live, but it’s a whole ‘nother deal to be introduced to a band live and accordingly hear their album. Well, this is the case for me, at least. The whole system of expectations is just a bit out of whack. Sometimes sound and energy translate, many times it doesn’t… well, there’re just many more variables and uncertainties that leave me a little uneasy with the experience. This was the case with Crime In Stereo. Opening for Thrice and Brand New is no easy task, the frontman made himself memorable with his shrill screams amidst the post-hardcore-esque flurry of guitars. Anyway, going into the Long Island natives’ 2010 LP, I tried to keep an open mind, but I have to admit I was a little excited. And what happens when I get excited about something again?… oh, that’s right! I get let down.

Quirkiness is a funny quality. I mean, seriously, attach that label to music and attention will be paid- I guarantee you. This undoubtedly stems from what most eager music listeners strive for: something different, but not too far out of their comfort zone. Hot Chip fills this description fairly well. The dance-oriented band from the United Kingdom has been considered catchy enough for the mainstream but still satisfying for the more refined tastes of electronic enthusiasts (for something fun, at least). Hot Chip possess that “quirky” quality- a little hard to define, but definitely that ONE song or sound that sends your radar off a little. One Life Stand is satisfying in this sense. It leaves you with a little grin and your head bobbing whether you’re that audiophile with the Autechre discography or my little sister. That being said, don’t expect anything even close to consistency, because, once again, Hot Chip fails in this paramount aspect.

Listeners of every variety seem to be enthused by the unstable and the demented, don’t they? David Bowie with an alter ego- Cool! Thom Yorke as an unstable recluse for Kid A- Interesting! A heartbroken Justin Vernon alone in the wilderness- Intriguing! The success of these unstable releases from equally mad artists ultimately comes not from the unfortunate condition of the artist but from the art.  Bat For Lashes mastermind Natasha Khan is a bit weird (no offense to the songstress, of course). Unfortunately, Two Suns cannot withstand its own ambience and minimalism and ends up collapsing in on itself. Her sophomore album certainly doesn’t fail at creating a lush atmosphere; the moodiness of Two Suns gets tiresome and (dare I say?) boring after the listener realizes that Bat For Lashes simply doesn’t have enough worthwhile material to make Two Suns an engaging experience. It might seem interesting at first, but after several subsequent listens, the soft, 80’s-esque music with haunting vocals fails to deliver more. The gaping hole in Khan’s work is her inability to create anything worthwhile beneath her ethereal musings and moods.

It was only a few days ago that I was reading a newspaper article about how “empowered girls” are becoming more assertive and seducing boys into having sex with them. The reporter outlined studies and observations that could be summarized as girls (predominately ages 16-24) becoming more like men, in the sense that they’re much more sexually aggressive. With her raunchy debut, Animal, there’s no doubt in my mind that Ke$ha (money sign purposeful) adds fuel to this fire. It’s not difficult to imagine teenage girls in ridiculous attention-getting outfits with bright colors (maybe a nod to Lady Gaga here or there) dancing with fruity liquor galore calling dibs on the guys that present themselves in the night ahead. It’s particularly easy to imagine, actually, because it’s a scene I witness every weekend- but this review isn’t about me. No, let’s keep the focus on Ke$ha, her sex-infused lyrics, surprisingly catchy pop beats, and her expectedly atrocious debut, Animal.

I’m not even going to mention their past. Why should I? On Tapestry of Webs, Past Lives reveal a marked detraction from it, and that’s about all you need to know with that subject. Tapestry of Webs is an album to behold – an eclectic release that has you concentrating on every “oooooooohh oh oh.” Every buzz is impressed with tension and eventually builds this ominous eruption. Tapestry of Webs is a bit jarring and almost menacing at times, but they don’t forget to put a little meaning and purpose behind it, too. Past Lives seem to have mastered this quality where they take a diverse array of eclectic qualities and mash them together forcefully… and they somehow come out cohesively! Song after song, the post-punk concoction lures you deep into the abyss with groovy rhythm sections and convoluted lyrics, but it’s soon evident that there’s more to Past Lives than first meets the eye.

Phantogram is an electronic-indie duo that hails from Saratoga Springs, New York.  Josh Carter and Sarah Barthel have been best friends since high school and have been on tour for only a few years.  However, they are getting major attention from popular labels with their self-proclaimed “street-beat psych-pop” that makes listening irresistible.  While listening to “Mouthful of Diamonds,” the first track on the album, one may think that this duo is just a simple Indie band with a hint of electronic flavor.  But there is much more to this band than meets the eye (not to mention that a phantogram is a 2-D image enhanced by 3-D glasses).  As soon as “Turn It Off” kicks in with synthetic beats and turntable effects, the listener feels compelled to finish the track.  Barthel’s delicate voice is complimented by Carter’s simple, shimmering guitar, but behind them are hip hop beats that launch the music into something special.

When I started listening to Mr. Gnome, I was vaguely reminded of the Pixies. Mr. Gnome has the sound of an indie band from the late 80’s to early 90’s that resonates through the wailing vocals and distorted guitar. The band is composed of Nicole Barille (guitar and vocals) and Sam Meister (drums). They create a ghostly sound in Heave Yer Skeleton that derives from the echoes of Barille’s lonely voice. The songs are not necessarily catchy but become memorable because they haunt the listener. The first track, “Spain,” slowly drifts with a dreamlike quality, while “Searider Falcon” hits hard with distorted guitar riffs that demonstrates their ability to really rock.