The Concretes

The Concretes began in 1995, in Stockholm, as a modest trio fronted by Victoria Bergsman.  In the years that followed, additional members were added until they arrived at the massive, extravagant sound that characterizes their eponymous debut.  Bergsman eventually left the band after the first two albums (The latter two cause more harm than good to the band's reputation) to seek out new creative space with the band Taken by Trees.  Before that, though, The Concretes produced some of the best retro-pop in Sweden, with big, multi-instrument (horns, harps, strings) in-studio recordings that create a lush, molasses-like aural aesthetic.  Wading through these songs can seem tedious but is far from frustrating.  Sweetness is all around, and their drowsy, dreamy potions beg for your indulgence.  Enjoy!

Albums:  In Colour (2006), The Concretes (2003)

Tracks:  On the Radio, Sunbeams, Chosen One, Say Something New, You Can't Hurry Love, Seems Fine

The Loveninjas

Swedish indie pop act, The Loveninjas, have never really taken anything seriously, including themselves.  Originally formed as the musical apparatus for Thor Helmstein's creations, the band decided on the current name following Helmstein's new obsession with Japan and ninjas, which began upon his reading the novel, Shogun.  Although they soon abandoned this unidimensional approach to songwriting -- the band sang about, and dressed up, as ninjas -- the playful, tongue-in-cheek humor remained, as is evident in songs like "She Broke His Penis in Two" and "Little Black Friends." 

The band's style is rooted in twee-pop, with jangly guitars and frequent falsetto.  There is also an element of bass-driven pop, along the likes of Brill Building Pop and girl groups of the 1960s.  If one can imagine, their songs are like a cross between The Field Mice and Tullycraft, with the sardonic wit of Belle & Sebastian.  They're certainly one of the best kept secrets of Swedish pop.  It's a shame they only released one album.

Albums:  Secret of the Loveninjas (2006)

Tracks:  I Wanna Be Like Johnny C, Care, She Broke His Penis in Two, Little Black Friends, Earl Grey with Honey

Caesars

Most famous for their early Aughts iPod commercial track, "Jerk It Out," Caesars have manufactured some pretty catchy pop-rock over the years.  In a cross between traditional Swedish Pop and Britpop, Caesars make noisy rock tracks with melodies that leave one whistling while still sleeping.  They are far from profound or groundbreaking, but they're fun regardless. Enjoy!

Albums:  Paper Tigers (2005), Love for the Streets (2002)

Tracks:  May the Rain, Paper Tigers, Jerk It Out, Do-Nothing

The Legends

Johan Angergård is probably Sweden's most versatile singer-songwriter.  In addition to time spent in the Acid House Kings and Club 8, Angergard spends most of his efforts on solo project, The Legends.  They have actually released four albums since their debut in 2003, all of which have featured a different set of influences and styles.  First album, Up Against the Legends, is undoubtedly the best, with its noisy and unafraid assault on noise pop.  In my personal opinion, this first album represents the best work that Angergard has put forth, utilizing catchy melodies while simultaneously embracing the wall of sound technique pioneered generations ago by Phil Spector and Brian Wilson.  The other albums showcase different styles, including post-punk and dance music (These tracks have been featured in retail stores throughout the country, including J Crew and Banana Republic), indicating that Angergard's talents have yet to reach a plateau.  Enjoy!

Albums:  Over and Over (2009), Facts and Figures (2006), Public Radio (2005), Up Against the Legends (2003)

Tracks:  Call It Ours, There and Back Again, Right On, Nothing to be Done, No Way Out, Make It All Right, People Like Us, Lucky Star, Darling, Facts and Figures

Five!!

Acid House Kings

The Acid House Kings define Swedish Pop.  Their music is fun, sappy, innocent, and it features some of the best in-studio production found in contemporary pop.  The melodies are simple and bounce along effortlessly, supported by upbeat bass lines and smooth harmonies.  Despite the meticulously crafted nature of these songs (Their most recent LP was six years in the making), pseudo-improvised nuance such as hand claps, piano ornaments, glockenspiel, and castanets provide a more playful vibe.

The band was formed in 1991 by brothers Niklas and Johan Angergård (Club 8, The Legends), who later added Joakim Ödlund to round out the trio (Odlund was later replaced by Julia Lannerheim).  They have released several albums over their two decade existence, and much to the pleasure of Swedish indie label, Labrador Records, all of these have been just pure perfect pop.  The Acid House Kings recently released their new LP, Music Sounds Better with You, on March 22, 2011, and it shows no decline in their songwriting prowess.  Between this album and 2005's Sing Along with Acid House Kings, one need look no further for sonic bliss.  Of course, the next two weeks should provide more treasures for your expanding music library.  Recs are below:


Albums:  Music Sounds Better with You (2011), Sing Along with Acid House Kings (2005), Mondays Are Like Tuesdays... (2002), Advantage Acid House Kings (1997), Pop Look and Listen! (1992) 

Tracks:  Are We Lovers or Are We Friends?, Would You Say Stop?, Waterfall, Do What You Wanna Do, This Heart is a Stone, Tonight is Forever, Sleeping, Wipe Away Those Tears

Week 5-6: Swedish Pop

It may seem a bit unfair to group a whole array of artists together solely on the basis of their nationality, but in Sweden, there is a clear, definable style of pop music that is found nowhere else in the world.  Although Sweden's most known musical export may be death metal (e.g. Dark Tranquility, Scar Symmetry, etc.), smaller indie acts excel at creating a unique brand of pop with cloying hooks and sentimental lyrics.  This music is the sweetest combination of pitch and rhythm possible -- "cheesy" is an understatement.  The unabashed crooning will surely win over your heart and leave you brimming with newly discovered romantic charm.

There is just so much to cover that I have decided to devote two weeks to Swedish Pop.  Some of these acts may be a bit derivative of the style described above, but the essence still remains.  MDMA be damned, send me to Sweden instead!

Week 4 Recap: Dream Pop

Featured Artists:

Jack Tatum of Wild Nothing

Beach House
Wild Nothing
Sad Day For Puppets
Pepper Rabbit
The House of Love
The Flaming Lips
Film School
Magenta Skycode
Sin Fang
Cocteau Twins
Mazzy Star
Galaxie 500
Mercury Rev
Mojave 3
Twin Sister

Honorable Mention:
His Name is Alive
Luna
Minks
Moose
Pale Saints
Slowdive

Twin Sister

Long Island quintet, Twin Sister, released their first LP in 2010, and it was worth all the hype.  It is short by LP standards -- it's just over the 25 minute minimum -- but it probably resembles the most accurate dream pop production in contemporary music.  The melodies are simple and driven by the bass, but there is celestial imagery provided by the synth, and the siren vocals serve to mesmerize.

Albums:  Color Your Life (2010), Vampires with Dreaming Kids EP (2008)

Tracks:  Lady Daydream, All Around and Away We Go, Milk & Honey, Phenomenons

Mojave 3

Arising from the ashes of Slowdive's demise in the mid-1990s, Mojave 3 signed onto dream pop label 4AD for their debut in 1996.  Soon though, the band migrated toward a more cheery domain -- with some alt-country too -- and released several indie pop praise-worthy albums in the late 1990s and early Aughts.  For more info, check out their bio on AMG.  Enjoy!

Albums:  Excuses for Travelers (2000), Out of Tune (1998), Ask Me Tomorrow (1996)

Tracks:  Got My Sunshine, In Love with a View, My Life in Art, Love Songs on the Radio, Sarah, Mercy

Mercury Rev

Buffalo, NY is a place most apt at conjuring up images of fat football fans, snowy blizzards, a floundering economy, and homegrown terrorists (Both Timothy McVeigh and the "Lackawanna Six" grew up only ten minutes from my house).

I will not deny that there is truth behind these stereotypes, but there is so much more as well.  Despite people there being a bit closed-minded at times, they are some of the nicest I have ever met.  In addition, Buffalo's summers are beautiful, Toronto's jazz radio comes through crystal clear, and it has one of the most authentic art scenes in the country.  Art house director/actor extraordinaire, Vincent Gallo, is a native Buffalonian, along with several notable musicians including the Goo Goo Dolls, Natalie Merchant, Ani DiFranco, Snapcase, Cute Is What We Aim For, and Passion Pit's Mike Angelakos.  Despite this impressive list, some of Buffalo's best talents have remained more obscure, one of which is the dream pop/experimental act, Mercury Rev.

This band has had a long, impressive history filled with several critically-acclaimed albums and a constantly changing style.  Less known than The Flaming Lips, there is probably no other band more similar in spirit and sound.  Early on, Mercury rev reveled in crunchy, distorted guitar work and less-than-conventional song structure.  As they grew older, they left some of the more traditional dream pop behind and embraced the tricks and subtleties that only a studio could provide.  Their most famous album, Deserter's Songs, showcases the band's more pop-minded tracks, though there remains a hint of their more noisy and discordant beginnings.   Here are the recs:


Albums:  Deserter's Songs (1998), Boces (1993), Yerself is Steam (1991)

Tracks: Tonite it Shows, Endlessly, Goddess on a Highway, Holes, Opus 40, Bronx Cheer, Coney Island Cyclone

Galaxie 500

Dream pop's characteristic shine and polish could no better be embodied than by Harvard trio, Galaxie 500.  In fact, Dean Warham, Naomi Yang, and Damon Krukowski all originally met while attending high school at the Dalton School, on the Upper East Side.  Their pedigree didn't stop them from entering the world of underground '80s rock after college, and it may have even helped to set them apart.  Their songs are anything but raw; instead, they are smooth, organic, and feature silky tenor vocals, provided by Warham.  Enjoy!


Albums:  This is Our Music (1990), On Fire (1989), Today (1988)

Tracks:  Blue Thunder, Strange, Tugboat, Tell Me, When Will You Come Home, Fourth of July

Mazzy Star

David Roback and Hope Sandoval are the mysterious and somewhat difficult duo behind the 1990s psychedelic dream pop band, Mazzy Star.  Although the group includes a few other members, Roback and Sandoval are responsible for the abstract lyrics and atmospheric sound.  They never achieved fame in the truest sense, but in the past decade have been featured on House and The O.C.  Here are the recs:

Albums:  Among My Swan (1996), So Tonight That I Might See (1993)

Tracks: Fade Into You, Blue Light, Into Dust, Flowers in December

Cocteau Twins

With several albums of groundbreaking and innovative dream pop in their catalog, the Cocteau Twins define this style better than any other musical act.  With angelic vocals that cut above the comic clutter of the distorted guitars, this band proved that mood is just as important as melody.  In fact, true melodies in their songs are a bit hard to identify at first, but what is impossible to ignore upon initial listen is the ethereal and almost-magical sounds they produce.  Enjoy!

Albums:  Heaven or Las Vegas (1990), Treasure (1984), Head Over Heels (1983)

Tracks:  Lorelei, Sugar Hiccup, Ivo Beatrix, Heaven or Las Vegas, Cherry-Coloured Funk, Iceblink Luck

Sin Fang

Sindri Sigfússon has been involved in numerous musical endeavors within the past several years, but he keeps trying to create new projects that reduce the number of members, thereby allowing him to have greater autonomy on the final project.  Sin Fang is Sigfusson's best attempt to date, both in regards to enabling his solo creations to come to fruition as well as the quality of the songs themselves.  These tracks are all about atmosphere, though melody is still present.  There is intense layering of sounds -- both with guitar and synth -- along with a certain lazy, disoriented quality to the songs.  The overall mood Sigfusson creates is one of leisure, perhaps with a bit of naivete thrown in.  I like it, personally.  Enjoy!

Albums:  Summer Echoes (2011)

Tracks:  Always Everything, Because of the Blood, Fall Down Slow, Nothings

Magenta Skycode

This Finnish group excels in creating a tranquil, austere, and dreamy musical aesthetic with reverb-heavy synth motifs and occasional piano.  They don't forget, though, the importance of maintaining song structure and catchy hooks in order to assure broad appeal.  Their most recent album, Relief, showcases some of their best work to date.


Albums:  Relief (2010)

Tracks:  The Simple Pleasures, Kipling, Night Fall on the Rifle

Film School

Film School has actually been producing music for over 10 years now, and all three albums they've released have showcased some pretty high quality dream pop.  They stand out a bit from other 2000s shoegaze acts, such as Asobi Seksu and The Pains of Being Pure at Heart, by infusing some electronica into their tracks.  This gives the songs a more hip, dance aesthetic.  Have a listen!


Albums:  Fission (2010), Film School (2006), Brilliant Career (2001)

Tracks:  Heart Full of Pentagons, When I'm Yours, Waited, Harmed, Like You Know

The Flaming Lips

Since the band's formation in 1983, The Flaming Lips have remained as eclectic and diverse as pop music of the past three decades.  Taking an entire decade just to reach the Top 40 Billboard charts, this group has managed to remain fresh and quirky throughout their lengthy tenure.  Whereas famous bands all around them have come and gone, the Lips show that true talent and creativity can -- and will -- be rewarded by those most savvy in music.  Although entire books can be written on their history, The Flaming Lips are best understood by experiencing their music either live or on high volume at home (Additional psychoactive stimuli are optional).


Albums:  Yoshimi Battles the Pink Robots (2002), The Soft Bulletin (1999), Clouds Taste Metallic (1995), Transmissions from the Satellite Heart (1993)

Tracks: Fight Test, Yoshimi Battles the Pink Robots Pt. 1, Do You Realize??, Race for the Prize, Suddenly Everything Has Changed, This Here Giraffe, She Don't Use Jelly, Be My Head

The House of Love

British rockers, The House of Love, were arguably one of the most respected college rock acts of 1988 due to their creative use of guitar fuzz/noise, along with shimmering melodies in both vocals and lead guitar.  Unfortunately, they are also equally known for what they didn't become -- really, really famous.  Unlike similar underground rock artists, such as The Smiths, The House of Love were plagued by infighting and a lack of direction after their superb eponymous debut.  Beginning in 1989, band members left, one by one, leaving the band to limp along with poor songwriting and a withering fan base.  The band's initial work, though, represents an undeniable achievement in innovation within the dream pop arena.  Even today, The House of Love remains a worthy source of inspiration for novel pioneers, seeking to reinvent that characteristic 'shine' of these late '80s trailblazers.  Enjoy!

Albums:  The House of Love [Butterfly] (1990), The House of Love (1988)

Tracks:  Shine On, The Beatles and the Stones, I Don't Know Why I Love You, Christine, Salome

Pepper Rabbit

Pepper Rabbit is a newer dream pop outfit on the scene, and they have an incredibly effective strategy:  novel incorporation of folk elements, such as ukelele and banjo, into their synth-/reverb-laden melodies.  Their songs are slow and relaxed, adequately dreamy, and feel like being in a sleep-deprived daze.  It works well.  Have a listen!

Albums:  Beauregard (2010), Shakes & Clicks EP (2009)

Tracks:  Older Brother, Harvest Moon, Snowalker, Babette!

Sad Day For Puppets

Even the most casual acquaintance of mine knows that I love Sweden.  Swedish pop, to be exact.  Except for a few foreign flicks I've seen from this Scandinavian region of rabble-rousers (Read with sarcasm), I know very little about the country beside their unique brand of cute and cloying indie pop.  Let me warn you, this is some really saccharine stuff.  In fact, prepare yourself for a slew of uppers next week, as "Swedish pop" will be the categorical glue that brings those artists together.  Unfortunately, there are too many Swedes to cover in one week, so dream pop group Sad Day for Puppets, will be introduced today.

This group arrives at the "dream pop" label through an interesting combination of '80s shoegaze fuzz/distortion, '90s rock beats, and the best indie pop hooks of the Aughts.  The result is a celestial mix of chiming lead guitar, haunting and wispy child-like vocals, clanging rhythmic guitar, jaunty bass lines, and a drum set that is clearly top-loaded with cymbals.  Their two albums are equally worth listening to, featuring expertly mixed pop gems that both shimmer and spook.  Enjoy!


Albums:  Pale Silver and Shiny Gold (2010), Unknown Colors (2009)

Tracks:  Sorrow Sorrow, Such a Waste, Anne Says Pt. II, Monster and the Beast, Marble Gods, When the Morning Comes, Last Night, When You Tell Me That You Love Me

Wild Nothing

The hottest group of 2010 was, without a doubt, Wild Nothing.  Now, I don't usually make such bold claims in my life, because I have gotten burned many times before.  In this case though, the buzz machine agrees with me.  How novel!

Wild Nothing is the moniker that Jack Tatum, of Blacksburg, Virginia, uses for his shimmering, nostalgic pop creations.  Although quite banal by now, at least in the context of music critiques, "nostalgic" is a most fitting adjective for an artist whose hit single, "Chinatown," heavily samples a melody from "La Pluie du Ciel," a largely unknown 1960s pop song by Yé-yé icon, Chantal Goya.  Have a listen.

Many of you may see where this is going.  In fact, what draws my ire is not Tatum's unannounced usage of that tune -- which resulted in a noticeably different, yet excellent dream pop track -- but instead, that this went unnoticed by every major music critic over the past year.  This includes NME, BBC, AMG, and even the all-knowing "journalists" in Chicago.  When I informed my friends several months ago, even they expressed surprise that this had not yet been revealed.  In essence, if only a medical student (and one obscure blogger in August, to give credit where it is due) is aware of this, what's to be inferred about the current state of music journalism?  Any response, Mr. Klosterman?

Now, writers' shortcomings shouldn't detract from Tatum's fine debut, Gemini, and follow up EP, Golden Haze.  These two releases feature some of the best dream pop I've heard since its heyday in the mid 1980s.  The familiar Smiths-like jangly guitars are there in full force, along with percussive effects like synth clicks and taps that propel the songs forward, uniquely adding an element of surrealism to these already trance-like tracks.

Despite some insouciant synth claps and strings though, Tatum's vocals are far from happy -- in fact, they're without any affect whatsoever.  Instead of singing, his emotional burden is so great, it seems, that he can only muster up a continuous sigh, one that is tortuously forced to remain a part of the dreamy, disorienting discord that is all but oblivious to his ongoing pain.  It's a depressing, melancholy affair, though one that provides a strange, perverse pleasure to the listener. 

I've provided four videos below, but this is still insufficient.  In order to truly appreciate everything Wild Nothing has to offer, please enjoy the album in its entirety.  It's a masterpiece.

Albums:  Golden Haze EP (2010), Gemini (2010)

Tracks:  Golden Haze, Take Me In, Live in Dreams, Summer Holiday, O Lilac, Chinatown, Our Composition Book

Beach House

Despite releasing two full-length albums previously (2006, 2008), it was Beach House's most recent LP, Teen Dream, that launched them onto every major music critic's radar screen.  On their first couple albums, their personal brand of dream pop had already been established -- high-pitched organ, reverberating vocals, and slow tempos defined their characteristic sound.  Most recently though, Beach House has added studio polish and dug deep into their gig bag and pulled out some of their best pop melodies yet.  For this reason, I believe that Teen Dream is one of the best albums of 2010.

Made up of Baltimore duo, Alex Scally and Victoria Legrand, this band crafts songs that are celestial yet sinister, evocative but restrained, and impressionistic without feeling contrived.  The aesthetic they create is one of beauty and wonder, even when Legrand simultaneously sings of fading love, as on "Used to Be."  The atmosphere and mood surrounding these songs is practically indescribable.  Have a listen. :)


Albums:  Teen Dream (2010), Devotion (2008)

Tracks:  Zebra, Walk in the Park, Used to Be, Lover of Mine, Take Care, Wedding Bell, You Came to Me, Home Again

Week 4: Dream Pop

From AMG:

Dream Pop is an atmospheric subgenre of alternative rock that relies on sonic textures as much as melody. Dream pop often features breathy vocals and processed, echo-laden guitars and synthesizers. Though the Cocteau Twins, with their indecipherable vocals and languid soundscapes, are frequently seen as the leaders of dream pop, the genre has more stylistic diversity than their slow, electronic textures. Dream pop also encompasses the post-Velvet Underground guitar rock of Galaxie 500, as well as the loud, shimmering feedback of My Bloody Valentine. It is all tied together by a reliance on sonic texture, both in terms of instruments and vocals. 

This week will feature both contemporary dream pop acts and some of the pioneers of the style.  As the description above indicates, these lines are blurry.  Sometimes you may feel that a band is more shoegaze or noise pop than dream pop, and this is expected.  Again, these categories are somewhat arbitrary, but they enable some sort of grouping that is necessary for this weekly format.  Here we go!

Stina Stjern

Here's an addition to the female singer-songwriter group from a couple weeks ago...

Stina Stjern is based in Brooklyn, NY, and recently released her debut album, Days Like Waves.  It features a pleasing, summer sun-loving form of indie rock.  The melodies are propelled forward by a driving, distorted bass that is clearly derived from the early proto-punk style.  Enjoy!

Albums:  Days Like Waves (2011)

Tracks:  Tuning, Strings, Cry

Week 3 Recap: Lo-Fi

Featured Artists:

Girls

Girls
The Love Language
Wavves
Kurt Vile
Smith Westerns
Times New Viking
Surfer Blood
Pavement
Apples In Stereo
Neutral Milk Hotel
Real Estate
Generationals
Cloud Nothings
Frankie Rose and The Outs
Avi Buffalo
Ariel Pink's Haunted Graffiti
Burnt Ones
The Fresh & Onlys
Sweet Lights
Reading Rainbow
Dead Ghosts
That Ghost
Heavy Hawaii

Honorable Mention:
Beck
Beulah
Guided By Voices
Sebadoh

Heavy Hawaii

Featuring mystical and almost dizzying psychedelic melodies, this band creates a lo-fi surf rock with quirky sound effects and obvious nautical nuance.  Enjoy!

Albums:  HH (2010)

Tracks:  Teen Angel, Sleeping Bag, Beacons

That Ghost

Singer-songwriter Ryan Schmale got his start at age 17 with a few self-made EPs before releasing his debut album, Young Fridays, shortly thereafter.  His brand of lo-fi features dreamy, almost ethereal vocals, with soft, relaxed guitar that floats in the background.  Check out this characteristic Pacific Coast lo-fi artist. Recs:

Albums:  Songs Out Here (2011), Young Fridays (2008)

Tracks:  To Like You, Calls, After Passing

Dead Ghosts

This four-piece ensemble play gritty, retro-minded, lo-fi anthems filled with angst and anticipation of a better day lurking on the horizon.  I wish I were on a boat drinking some Pabst.

Albums:  Dead Ghosts (2010)

Tracks:  I Want Your Love, What To Do, When It Comes To You

Reading Rainbow

Affectionately named after the 1980s PBS television show featuring the oh-so-dashing LeVar Burton, this Philadelphia outfit bathes in the washed out, lo-fi sunny pop that their 8-track recorder facilitates.  Made up of duo, Robbie Garcia and Sarah Everton, this group released their debut LP in 2010 and is due for another release soon.  Recs:


Albums:  Prism Eyes (2010)

Tracks:  Wasting Time, White Noise, Always On My Mind

Sweet Lights

 Unknown dude from Philadelphia.  I wish I could say more.

Albums:  Sweet Lights (2010)

Tracks:  Are We Gonna Work It Out, Message On the Wire

The Fresh & Onlys

Playing a mix of psychedelic rock with glimmering lo-fi, The Fresh & Onlys have been very productive recently.  They released an LP in 2010 and followed that up a couple months later with an EP in April, 2011.  They've been around for some time, so don't expect any drastic changes in upcoming releases.  Nonetheless, their songs are a good fit for a drive in the country on a Sunday afternoon, at least that's how I envision spending my time with their music.  Enjoy!

Albums:  Secret Walls EP (2011), Play It Strange (2010), Grey-Eyed Girls (2009)

Tracks:  Secret Walls, Summer of Love, Waterfall, I'm a Thief, Black Coffin

Burnt Ones

Lo-fi, crunchy hard-rock outfit Burnt Ones are a new band from San Francisco, specializing in distorted guitar riffs and pop chord progressions.  They are virtually unknown at the moment, though they deserve much praise for both their recent EP and late-2010 LP.  It may be hard to obtain some samples to listen to, but I can always help with that, if you need. :)


Albums:  Black Teeth & Golden Tongues (2010)

Tracks:  Bury Me In Smoke, Bring You All My Love, Alright (Sha-La-La), Gonna Listen to T Rex (All Night Long)

Ariel Pink's Haunted Graffiti

Ariel Pink has been around for the better part of a decade, though it was only recently that he launched into the (hipster) limelight.  His most recent LP, Before Today, features his characteristic lo-fi blend of late 1970s and early 1980s pop, along the lines of Bowie and Hall & Oates, to name a couple.  It's pretty weird and trippy at times but certainly intriguing, at the very least.  Enjoy the recs:

Albums:  Before Today (2010), The Doldrums (2004)

Tracks:  Bright Lit Blue Skies, Round and Round, Little Wig, Among Dreams, The Doldrums

Bass sounds like Broken English, no?

Avi Buffalo

Avi Buffalo is the name that Long Beach native, Avigdor Zahner-Isenberg, uses for his musical creations.  Achieving success -- in the form of a label and album release -- shortly after leaving high school, his music is a confusing amalgam of styles.  It can be dreamy and mystical like psychedelia, though he has a penchant for hum-worthy pop melodies (Most notably with the harmonics on "Truth Sets In.").  At times, Zahner-Isenberg croons admirably in his falsetto like a contemporary Robert Plant, or recent peer, Andrew VanWyngarden.  His debut album, which was released last year, is a nice collection of indie pop gems without any evidence of saccharine instrumentation and over-production.  Enjoy!


Albums:  Avi Buffalo (2010)

Tracks:  Truth Sets In, What's in It For?, One Last, Remember Last Time

Frankie Rose and The Outs

Frankie Rose is the former drummer for Vivian Girls, Dum Dum Girls, and Crystal Stilts.  She's surely put in her time as a somewhat glorified timekeeper, so she set out a couple years ago to test her songwriting chops.  The result is her debut LP, released in the fall of 2010.  This album far surpasses any of the work she's done in her other groups, as the songs are still energetic and crunchy, though they are characterized by necessary rhythmic restraint and harmonic balance.  Enjoy!

Albums:  Frankie Rose And The Outs (2010)

Tracks:  Candy, Little Brown Haired Girls, Must Be Nice

Cloud Nothings

The peppy noise-rock of Cloud Nothings comes from a most unlikely source:  Dylan Baldi, of Cleveland.  Maybe in a self-therapy of sorts, Baldi has created some of the happiest, yet brashly defiant lo-fi of the past year.  This stuff is all upper, meant to be consumed in excess by summer scabs at a pier or park.  He also seem well-aware of his own music's appeal, releasing two full-length albums in the past six months.  Embrace your inner, angst-ridden child.  This music appeals to the self-indulgent.  It's Brooklyn, it's Austin, and it's San Francisco.  Hell, it's all of us sometimes.  Enjoy!

Albums:  Cloud Nothings (2011), Turning On (2010)

Tracks:  Understand at All, Should Have, Forget You All the Time, Nothing's Wrong, Hey Cool Kid

Generationals

Generationals don't exactly fit into "lo-fi" as I described the style in a post earlier this week.  Nonetheless, their blend of surf rock, sugar pop, Brill Building pop, and proto-punk cannot be distilled to anything other than the manner in which they made these tunes -- gratuitous singing/shouting on a really shitty set of mics, seeking garbled vocals reminiscent of mono tracks long ago. 

They became famous two years ago for their de facto anthem of the summer, "When They Fight, They Fight."  They also recently released a new LP, which is a bit more complex than the older tunes, and it might require a few additional listens to fall in love.  Nonetheless, this group excels at creating retro-pop pearls, most recently with the track "Trust" from late 2010.  :)

Albums:  Actor-Caster (2011), Trust EP (2010), Con Law (2009)

Tracks:  Ten-Twenty-Ten; Greenleaf; Trust; Faces in the Dark; When They Fight, They Fight

Real Estate

Real Estate is yet another band that toys the line between surf rock and more innovative lo-fi music.  Their songs are relaxed and chill enough to suit one's needs on a hot, summer day.  Then again, they feature more classic guitar embellishments, tending toward alt-country sometimes.  The vocals float effortlessly above the layered guitar work, with enough reverb to sound more like an afterthought than the main melody.  Overall, these are some no-frills, laid-back tunes.  Enjoy!

Albums:  Real Estate (2009)

Tracks:  Beach Comber, Fake Blues, Snow Days

Neutral Milk Hotel

Jeff Mangum is perhaps the most famous, unknown musician of the past two decades.  He recorded only two full-length albums, both in the late 1990s, but their appeal continues today.  In fact, his popularity among music fans is growing -- Neutral Milk Hotel was even referenced in an episode of Parks and Recreation just last week.  For those of you in NYC, there's an added bonus:  he will be playing for the first time in years toward the end of this upcoming summer.

Mangum, the seemingly-tortured soul behind Neutral Milk Hotel, grew up in Ruston, LA, the same town as Robert Schneider of Apples in Stereo.  The two of them frequently traded ideas while in high school and even moved together to Colorado in the mid-1990s.  The two remained close despite being involved in separate projects, and they worked together for NMH's two LPs, including Mangum's crowning achievement, In the Aeroplane Over the Sea.  For this album, Schneider served as producer, adding distortion and fuzz to all instruments to compliment the raw, heartfelt emotions so evident in Mangum's vocals.

For the past ten years, Jeff Mangum has played a few sets in small venues throughout the country, almost teasing the growing masses of fans who yearn for a taste of what they missed while still in high school.  In the next few months, as I mentioned, he will play a couple large shows.  Although less personal, this may be the last chance to meet the Dylan of our generation.

Albums:  In the Aeroplane Over the Sea (1998), On Avery Island (1996)

Tracks:  In the Aeroplane Over the Sea, Two-Headed Boy, Holland 1945, Ghost, Song Against Sex, Naomi

Oh, that sweater!

"We all live with the objective of being happy; our lives are all different and yet the same." -AF

Apples In Stereo

This band is one of the notable pioneers of the indie lo-fi sound, releasing their classic album, Fun Trick Noisemaker, in 1995.  They originally signed with Elephant 6 Recording Company, where they perfected this style with active collaboration from other like-minded musicians on the same label.  Though their best work comes in the years immediately following their formation, the band still performs today and has released eight LPs to date.  Their style has changed in recent years, becoming more pop and experimental in nature, with some retro-sounding electronics.  If you'd like to give credit to the forefathers of this week's style, do yourself a favor and check out the albums I've listed below.

Albums:  Her Wallpaper Reverie (1999), Tone Soul Evolution (1997), Fun Trick Noisemaker (1995)

Tracks:  Tidal Wave, High Tide, Glowworm, Strawberryfire, Ruby, Questions and Answers, You Said That Last Night

Pavement

Pavement is the quintessential "indie" band of the 1990s.  They were lo-fi, cryptic and witty, remarkably normal-looking, and of course, on the independent label Matador.  In my honest opinion, Pavement is important today not because of what their music was, but of what they enabled future music to be.  During a time when almost every band had completed the transition to grunge, these college guys remained defiant and embraced a lighthearted, yet insightful approach to rock.  This is when underground music became known for its subtle wordplay and melodic simplicity, unlike former bands who relied on pushing the boundaries of one's visual and aural sensibilities to become noticed.  Pavement paved the way for modern indie as we now know it.  Recs are below:


Albums:  Terror Twilight (1999), Brighten the Corners (1997), Wowee Zowee (1995), Crooked Rain Crooked Rain (1994), Slanted and Enchanted (1992)

Tracks:  Cut Your Hair, Gold Soundz, Range Life, Summer Babe, In the Mouth a Desert, Here, We Dance, Grounded, Stereo

Surfer Blood

Surfer Blood specializes in a brand of surf rock that celebrates prominent guitar riffs and echoing, anthemic vocals.  It's lo-fi, as most neo-surf is, but instead of more upbeat -- and sometimes frenetic -- rhythms, there's a certain swagger to their songs that tends to lift one's mood even on the coldest, darkest days.  Their debut LP arrived on the scene a year ago and continues to deserve a couple spots in your day-to-day playlists.  Enjoy!


Albums:  Astrocoast (2010)

Tracks:  Floating Vibes, Swim, Take It Easy, Twin Peaks

Times New Viking

Times New Viking are a trio of old friends from Ohio, who decided on a whim in 2004 to form a band.  They encountered one minor problem -- none of them had any musical training.  Determination and commendable work ethic, plus a lo-fi style that favors sloppy technique, allowed them to put together an album that later caught the attention of small indie label, Siltbreeze.  With time, they would release a couple more albums with Matador and now their most recent album with Merge.

This fifth LP, Dancer Equired, was released in April 2011, and it features a more polished set of tracks (This is their first album recorded in a studio).  The songs are noticeably softer and border on twee.  It's a solid effort but represents a drastic departure from their earlier tunes, which were steeped in garage rock and punk influences.  The recs are as follows:


Albums:  Dancer Equired (2011), Born Again Revisited (2009), Rip It Off (2008)

Tracks:  Ever Falling in Love, No Room to Live, Try Harder, Fuck Her Tears, No Time No Hope, Teen Drama, My Head, Off the Wall

Smith Westerns

The Smith Westerns originated a few years ago in Chicago, while the founding members were still in high school, er, preparatory school.  They manufacture a lo-fi blend of beach rock and proto-punk/glam rock, supposedly influenced significantly by T. Rex.  Their most recent album was released in early 2011 with much fanfare, heralded mainly by hometown 'publication' and trendsetter, Pitchfork.  The album, Dye It Blonde, is fun and features some catchy tunes, though its merits may be a bit overstated.  Still, they're worth a listen.  If you plan on seeing them live, though, good luck!  They sold out their shows here in NYC within minutes back in February.

Albums:  Dye It Blonde (2011), Smith Westerns (2009)

Tracks:  Weekend, All Die Young, Fallen in Love, Only One, Dreams, Girl in Love

Kurt Vile

I first saw Kurt Vile perform almost a year and a half ago at Europa, and the entire experience remains vivid in my memory.  It was a solo performance -- no drums, no electric guitar, and of course, no roadie.  Vile sat on a tall stool, placed precariously on the edge of a makeshift stage in the corner of the room, alone with his acoustic guitar in the dim, blue/green light.  Fed through an amp with near-excess reverb, both his voice and guitar cut powerfully through the din of this crowded bar. 

He barely looked up once the entire set, at least I don't think he did.  In fact, Vile's long locks remained frozen before his face, foiling any attempt to ascertain his demeanor in the moment.  Regardless, the intensity with which he performed far surpassed any countenance available in mankind's repertoire, evoking well-earned respect from every cross-armed, plaid-wearing Brooklynite who remained riveted by this unassuming Pied Piper before them.  He played a short set of only five songs, though this was four more than necessary to transform even the harshest critic in attendance into a giddy schoolgirl.  By the time the following band, Fucked Up, took to the stage, the already-atrophied crowd's appetite had been satisfied.  I managed to stay for the first two songs of their set before I wandered off into the Brooklyn night, enchanted.

I have yet to see another musician match Kurt Vile's commanding presence that I witnessed that night.  Part of this is due to his remarkable poise on stage, while the other is due to his exceptional musicianship and the very songs themselves.  I can only offer a brief taste of the latter, of course.  Nonetheless, if you do have a chance to see him perform live, I guarantee you will not be disappointed.


Albums:  Smoke Ring for My Halo (2011), Childish Prodigy (2009), Constant Hitmaker (2008)

Tracks:  Baby's Arms, Jesus Fever, Freak Train, Blackberry Song, Monkey, Freeway

Wavves

Yet another musical moniker for a one-man band, Wavves is the stage name for San Diego musician, Nathan Williams.  His music is so distorted and difficult to decipher -- both his lyrics and any melodic line -- that many have jokingly referred to the style as no-fi, instead of lo-fi.

Unlike recent bands who have jumped on the lo-fi bandwagon, Wavves actually stumbled upon it by accident.  Williams sat down a few years ago after quitting his minimum wage job, and recorded some tunes using Garage Band.  Well, he was so inexperienced with the software that all the inputs were over-balanced, and he ended up with a garbled mess.  Regardless, he posted the songs online and almost surprisingly, he became something of an indie superstar overnight.

Albums:  King of the Beach (2010), Wavvves (2009)

Tracks:  King of the Beach, Post Acid, Super Soaker, Green Eyes, Beach Demon, So Bored, No Hope Kids