I think, therefore I listen. Here you will find a collection of emerging artists and under-appreciated music that should be shared with the world, as well as an occasional Chicago concert scene update.
If you were into the 80s soft rock/R&B style of last year's indie super-project Gayngs like I was, then you will go crazy for Active Child's new LP You Are All I See, released in August. LA-based singer/harpist/producer Patrick Grossi is clearly a man of many talents, and the way he layers his sultry choir-boy falsetto over enchanting harp strings, smooth electronic waves, and dark cavernous beats is truly tantalizing. Since the release of Curtis Lane last July, a remarkable but experimental EP with various styles on different tracks, Grossi has finally chosen his musical identity and very eloquently presents it on this new full-length album. These two tracks are a nice little sample, and he is actually providing a basically free download (for the cost of a tweet!) of "Hanging On," so if you like it head over to his website and download it.
He has been receiving quite a bit of attention in the blogosphere, aided by his association with the recently explosively popular M83 (also worth a listen), with whom he is currently on tour. I just discovered that they are actually playing at Lincoln Hall tonight, but it is sold out get over there and scalp some tickets!
Although these guys hardly need any press in their native UK or even in Europe for that matter, Bombay Bicycle Club has hardly received the attention they deserve Stateside. After their catchy and promising debut album I Had The Blues But I Shook Them Loose in 2009, their popularity erupted from London outwards, and they followed it up with 2010's soothing Flaws, a collection of acoustic tracks including a couple of lovely cover songs. But neither of these two notable albums foretold the release of their newest LP A Different Kind Of Fix this August, a truly brilliant masterpiece of indie rock. While tightening up some of the more raucous elements of their first album, they adeptly blended the best aspects of all their previous work, and there is not a single track that I would not STRONGLY recommend. The heavier rock songs are still beautifully coordinated, and the more melodic slow pieces are every bit as inspired and charming. I have not enjoyed a full album this much since Foals' marvelous Total Life Forever last year (still one of my favorites), so chalk another one up for the post-Britpop indie team. I honestly could not decide which tracks to share, but since these two were selected by the band themselves as their singles, I figured they are a good place to start (but afterwards you really must listen to the whole album, no joke):
Phantogram made a much-anticipated appearance at Metro last week, and besides knocking out the crowd with an intensely powerful show, they included in the show set the entirety of their new EP...
...which dropped today! These guys have accumulated quite a following in the past year or so with their debut LP Eyelid Movies, released in 2009 but only recently receiving the attention it deserves. Hailing from rural Saratoga Springs in upstate New York, the duo of Joshua Carter and Sarah Barthel have been collaborating on songwriting and composing for a number of years and have really hammered out a beautifully smooth operation. Their blend of electric guitar, keyboard, and heavy beats is reminiscent of the indie "psych pop" of the xx or Beach House, but with a more prominent hit-you-in-the-face style that alludes to Sleigh Bells but with much more creativity and tact. They trade off on lead vocals regularly and harmonize on different tracks, which keeps the sound interesting and showcases both of their talents as singers and musicians. These guys will continue to build popularity for the danceability and accessibility of their sound, as evidenced in the presence of their new single "Don't Move" all over the internet lately. In case you haven't heard it yet, check it out along with "Turning into Stone," one of my other favorites on the new EP:
Hooray for Earth rocked Lincoln Hall last weekend, despite some serious sound check issues and what seemed an awful lot like a blown amp. Regrettably, the Zambri sisters were not along for the tour, but the boys still pulled off a bit of their signature harmonization with the expected infectiously catchy beats.
When adrift in a sea of mediocre indie rock bands, it is always refreshing to find one that can truly be identified as unique. Brooklyn-based Milagres have confidently taken up this flag of uniqueness on last month's LP Glowing Mouth, with a sound that coveys much more confidence and awareness than would be expected of such a constantly developing act. When asked about their sound, they merely replied, "Milagres is Milagres." With pleasantly lucid vocals in a time of trendy lo-fidelity, this interesting sophomore album truly defines "Milagres" within the emerging music scene. After a moderately notable first LP, they have capitalized upon the best aspects of their music, namely the pop-inspired tempos and captivating synth/instrumental arrangements, and created a collection of tracks that present something identifiably new in the genre. Check it out:
Gardens & Villa rocked the Empty Bottle last Friday, exceeding my expectations for such a young band. Known for always playing live (even in studio), these guys have a natural talent for getting the crowd moving and they will definitely continue to gain notoriety, so catch them while they are still playing small venues.
As a Los Angeles expatriate, I generally don't have much taste for the glitzy glam rock that seems to emanate from Southern California, but occasionally there is a unique group that breaks that mold and deserves some attention. Fool's Gold is one such band, and their sound is definitely unique enough to qualify. The blend of Caribbean/Afrobeats and indie dance riffs provides a solid rhythmic framework for Luke Top's crooning vocals, and the combination is simultaneously catchy and deep enough to fill a stadium (or your best circumaural headphones). After their self-titled debut LP release in 2009, which employed mainly Hebrew lyrics, they tightened up their sound and moved on to a more accessible style and primarily English vocalization (with just an occasional verse or two in a Hebrew) for this August's release of their stellar sophomore album, Leave No Trace. I dare you not to tap your toes and nod your head to these:
Fleet Foxes played two sold out shows at the Chicago Theater this weekend, and naturally they didn't disappoint. It was hands down one of the best performances I have ever seen; everyone should experience their incredible talent at some point in their lives. Why not catch them on this tour?
Today's emerging act is based in Grand Rapids, although they originally began working together in (surprise, surprise!) Chicago. Stepdad is a creative and energetic synthpop outfit that seems to have a strange obsession with wild animal themes, in both lyrics and attire. Characterized by catchy electronic beats and bouncing falsettos, Stepdad's sound is more than enough evidence that these guys just want to have fun--and make some infectious indie pop while doing it. They first released their Ordinaire EP on their bandcamp site last April, but it received so much attention that they were signed by Quite Scientific records and rereleased the EP last month with two additional (and excellent) bonus tracks. While some of the songs on the EP are just a little too pleasant and poppy, there are enough standouts to make it worth following these guys. Give these two highlights a listen:
Hipster artists NewVillager performed here in Chicago on Friday, and put on an interesting show to say the least. They only brought a small portion of the visual artwork to adorn the stage and backdrop, but the decorations included a costumed roadie rising up in the middle of the set and dancing around the room, to the audience's delight (and confusion). Their harmonization and instrumentation were not quite as smooth and polished as on the album, but the young band shows signs of promising production in the future.
Typhoon, the emerging band of the day, hails from Portland, Oregon and has been performing together since 2005. Known for their complicated instrumental arrangements and experimental combinations of styles, they have received some attention from the indie community but not as much as their carefully and adeptly constructed sound warrants. With thirteen individual members, it is incredible that so many instruments and influences can produce such harmonious indie-folk, and frontman Kyle Morton's sincere and beguiling vocals and introspective lyrics tie it all together in a way that demonstrates the abilities of this upbeat ensemble. After a quiet and gradual rise to notability, their second LP Hunger and Thirst shows the quality of work of which this band is capable, and the release of their EP A New Kind of House this past March anticipates the continuation of their unique and powerful style. Give these tracks a listen, and pay particular attention to the lyrics.
As expected, Washed Out was excellent at the Riviera Theater last night. Even without a proper sound check, Ernest Greene's ensemble adeptly played a selection of their more upbeat songs, drawn from both of his albums and some unrecorded material, and the dance-ability of their pioneering glo-fi style became even more apparent with a real drum set and guitars.
And naturally, the Aussie dance-rockers Cut Copy brought down the packed house, sounding every bit as catchy and brilliant as we have come to expect. They played an excellent balance of new and old songs, effectively promoting their wonderful summer release but not leaving out anyone's favorites from their previous albums. They will be on the road a while longer, so catch them coming through your town while they are still stateside.
Today's emerging act is another group of young and talented Chicagoans, born and raised. The four-piece YAWN started in high school and has been playing its unique brand of synthrock for the last couple years, first releasing an eponymous EP in July 2010 (which is still available for FREE on their website) in order to get their name out, and building up to the release of their full LP Open Season a couple weeks ago on August 30. At first listen, they could easily be Animal Collective's little brother; but apart from lead singer Adam Gil's synthesized vocals remarkably emulating Avey Tare's, YAWN is entirely their own creation, and the similarities quickly become superficial in light of the varied samples and driving beats that characterize their accessible sound. Psychedelic in the best possible way, the deep layers of each track beckon one to listen more closely every time, and the members combine electronic elements to create a sound much more mature than their years. Pump it:
Brooklyn/San Francisco-based duo NewVillager are truly artists, in every sense of the word. Apart from their beautiful R&B/Afro-inspired synthpop and remarkably profound poetically-inspired lyrics, they are also avid visual artists, as evidenced by their "integrative concert" held in LA leading up the release of their debut eponymous LP last month. You can get a taste for some of their visuals in any of their music videos, but especially in the epic imagery for the song "Lighthouse," which features ten eccentric characters meant to represent each of the ten tracks, creating a self-styled "mythology" with the new album.
The infectious rhythms and seamless vocalization on NewVillager deserve all the attention this band is beginning to receive and more, especially as a completely unique style amongst a crowd of sound-alike hipster pop bands. The experimental combinations of chants and staccatos makes it both interesting and accessible, and this album could very well become one of the best-ranked new releases of the year. Try these tracks first, but you really must listen to the whole album since each has such a distinct story to tell, musically, lyrically, and artistically.
They are currently taking their stimulating concerts on the road and will be coming through Chicago NEXT FRIDAY, September 23 at the Empty Bottle with Bachelorette and Tiny Fireflies. You won't want to miss this artistic smorgasbord, so get your tickets NOW.
Being a recent California expatriate myself, I generally roll my eyes at bands that sing nostalgic songs about the Golden State and its shores, but I decided to give these guys a chance and I recommend you do the same.
Dirty Gold is a three-piece "beach-wave" group of San Diego boys who just graduated high school this past June. After forming during the fall of their senior year, they signed with indie label Autumn Tone Records (home of Fleet Floxes' J. Tillman) and released the lovely ROAR EP this April. Clearly inspired by 60s beach pop, Dirty Gold takes the warm and sunny sounds of Afro-beats and xylophones and creates an inspired and charming sound that would have Brian Wilson smiling and tapping his toes. Another perfect album to play in these dwindling days of summer, the small offering of laid-back tracks promises great work from these new beach boys. Grab your wayfarers and relax:
Chicago-based indie folk group Maps & Atlases first formed while all four members were attending Columbia College downtown, and after a couple years of experimenting with different sounds achieved widespread indie attention at various festivals including SXSW with the release of their first EP Tree, Swallows, Houses in 2006. After touring the U.S. extensively for a couple more years, they finally settled down and released their first full LP Perch Patchwork last June 2010, and the album clearly demonstrates their increased focus on sound and style. Sometimes classified as math rock, the album's catchy hooks and intricate rhythmic patterns defy any definitive genre-branding and lead singer Dave Davison's nasal cooing and illustrative (if not somewhat fantastical) lyrics tie together its uniqueness. Some tracks seem a bit scattered, but the overall sound of the album promises even greater things for this homegrown Midwest act. Try it out:
Maps & Atlases happens to be playing in Chicago at the A.V. Fest THIS SUNDAY outside the Hideout, so R.S.V.P. NOW and check out the other up-and-coming acts supporting charity.
After experimenting with a variety of traditional European folk styles and experiencing unexpected popularity amongst the indie music community since its formation in 2006, Santa Fe-based group Beirut headed by the hipster music sweetheart Zach Condon have produced their third and most confident album, The Rip Tide, released yesterday. While Beirut's previous albums were indisputably interesting and fun to listen to for their variety of instrumental combinations and foreign sounds, Condon finally seems to have settled on a style to call his own. His pleasant and full-hearted vocals sing out gorgeously (but not too much so, as perhaps on earlier projects) over a folk-pop blend of catchy and, as reviewers have variously branded it, "agreeable" tracks. Although containing only 9 songs, The Rip Tide accurately and elegantly makes a statement of the band's unique styles without some of the abstract instrumental interludes that may have turned off listeners on his previous albums. It still maintains the heart of Condon's composition, often trading in guitars for ukeleles and horns, but appeals to a wider and less European audience, with excellent results. Check out these examples, then look up "A Candle's Fire" and "Port of Call," respectively the opening and closing tracks of the album.
Although they are well-known amongst the progressive reggae scene, Toronto-based Bedouin Soundclash remains relatively unrecognized outside the genre, despite their genre-bending tendencies and accessible alternative sound. Since their independently-released debut album Root Fire while they were still in college together in 2001, they have produced a steady flow of part-reggae, part-ska, part-completely unique sound and have slowly gained renown throughout their native Canada and parts of the U.S. While frontman Jay Malinowski's vocals and lyrics may have seemed fragile and tentative on their early albums, with the release of Light the Horizon this past year, they dispel any hint of insecurity and truly define their own style in a way they have never before. Alongside the beautiful duet with fellow Canadian Coeur de Pirate on "Brutal Hearts," the album maintains their signature sound but polishes the details to create an even smoother listening experience. Give it a try:
One of my good friends introduced me to the marvelous synthpop of the Boston-based duo Magic Man when their album was released online last year, but since then they have not received nearly as much attention as their unique style and promising sound deserve. The project that became their debut album was begun while working together in the French countryside, then mastered in American dorm rooms after their return with surprisingly polished production quality. Self-classified as "glo-fi"(in the style of the aforementioned Washed Out), Magic Man blends heavy electronic beats with experimental synthesizers to create an engulfing and enthralling mix of lo-fi tunes. Some of the slower songs fade slowly in and out of focus in instrumental waves, while the more upbeat tracks captivate the senses with catchy beats and illustrative lyrics. The mystery behind their musical layers is only superseded by the mystery behind how this group is still unsigned by a record label. Hear for yourself:
In an effort to spread their album, you can even download it for free here. They have also made themselves available to play private or public East Coast shows, so if you happen to live over there and are interested you can contact them on their Facebook page or at this email address.
A young emerging act from Santa Barbara, Gardens & Villa introduced themselves into the summer indie rock scene with the release of their two most popular tracks, "Black Hills" and "Orange Blossom," followed by the release of their full eponymous LP this fourth of July. The album makes a somewhat successful attempt to fit in with current trends, but only a handful of songs really stand out. The two tracks listed above establish the band's sound as something promising and unique, especially with their stated oath to "always play all parts live," a bold move amongst an increasingly synthesized indie scene. Upbeat and layered, the style of each track changes with a chameleon-like effect that has not earned rave reviews from the tough critics of the internet music world. Nonetheless, based on their standout songs they are still an emerging act to follow, so hit up their popular tracks and then check out these two that also promise big things:
San Francisco-based Vetiver's summer album The Errant Charm, released this past June, follows in much the same style of their 2009 indie-breakthrough album Tight Knit, but demonstrates that frontman Andy Cabic is exploring new limits for both his vocal range and song depth. After the band's origins in the freak folk movement alongside close associate Devendra Banhart, they moved toward a gentler, more accessible style that is best enjoyed floating gently through your open windows on a sleep summer day. Where Tight Knit seemed almost too gentle, Cabic has explored a slightly more experimental style on this new album while still maintaining the accessible and dreamy "charm" that has made his sound popular among the indie scene. Enjoy these:
Ernest Greene began his career in the bedroom of his home in rural Perry, Georgia, and the sleepy origins of his music pervade through the style to the very core. From the myspace upload of his first few songs as Washed Out a couple years ago, he immediately became a music blogger favorite, and his first full-length album Within and Without, released last month, has already achieved widespread acclaim from the online music community. Like a soundtrack to a dream, the smoothly pulsating 80's-style beats and soothing unintelligible vocals lull you into the most peaceful nap of the summer. Developed in the Sub Pop studio with indie favorite Ben Allen and the same production crew as Animal Collective and Deerhunter, Within and Without delivers a more polished and enchanting sound than Greene's previous releases and, along with other chillwave acts including Greene's personal friend Toro Y Moi and Neon Indian, the album is crafting a new sub-genre appropriately dubbed "glo-fi."These two tracks are perfect for playing on the beach, in the park, on your daily commute, or just about anywhere that could use a little chill:
As mentioned in a previous post, Washed Out is opening for Cut Copy at the Riviera Theatre in Chicago on September 20, and it is sure to be brilliant. Get your tickets NOW.
Many of you may already know of Columbia, South Carolina's Chazwick Bundick for his remixes of popular indie dance songs, but Toro Y Moi is becoming much more than just another indie DJ. His first album Causers of This, released January 2010 with generally positive reviews, played like a collection of well-crafted beats with thick layers of vocal dissonance on top, in the style of Baths or Animal Collective's Avey Tare. His latest album however, Underneath the Pine, provides a much more accessible and musically pleasant experience, tapping into the chillwave movement alongside his personal friend Ernest Greene of Washed Out. The album, released this past Fenraury 2011, makes allusions to a sort of smooth-listening disco, similar to the popular synthpop of Erlend Øyé's The Whitest Boy Alive but with its own unique brand of funk. The style of his new work is always notoriously difficult to predict, but one can only hope he continues to tap into this sound on his future albums. Check these out:
He is releasing a new EP titled Freaking Out on September 13, so make sure to get it from his website. He is also playing in Chicago at Lincoln Hall on September 24, so get your tickets NOW.
As mentioned previously, Memory Tapes played here in Chicago last night, and the show was excellent. Frontman Dayve Hawk trades in keyboards and synthesizers for electric guitars in his live shows, and the result is a refreshingly organic combination of synthrock and indie dance. That show concluded his current U.S. tour, but make sure to catch him next time he is out on the road.
Today's emerging artist, White Denim, has been producing experimental garage rock out of Austin, Texas since 2006, but with the release of their latest album D this past May, they have truly come into their element. Leaving behind the lo-fi jam band sound of their previous albums, they added a fourth member and focused their talent in the studio for a much more polished and accessible result. Drawing on classic rock roots (something between Deep Purple and Jethro Tull), each track on this new album is unique but coherent in the progressive and slightly psychedelic style of the band's new resolve. Give it a try:
Today's group is hardly "emerging," but I felt that their latest album Zonoscope released this past February deserves to be raved about again.
Cut Copy is a four-piece outfit from Melbourne, Australia, who have achieved widespread popularity amongst the indie dance scene for their infectiously catchy beats and hooks since their formation in 2001. Headed by former DJ Dan Whitford, Cut Copy maintains their signature synthpop style on this third album, but the new melodies and instrumentation demonstrate the maturity and development of their sound. Try these on for size:
You can catch them coming through Chicago on September 20 at the Riviera Theatre with Washed Out and Midnight Magic. You'll want to get your tickets NOW, because this show will sell out for sure.
It has been a beautiful past couple weeks here on the shores of Lake Michigan, perfect for the great new sounds of this summer.
Memory Tapes is the brainchild of New Jersey-based Dayve Hawk, former frontman of the now defunct Philadelphia group Hail Social, and he has made great strides in the uniqueness of his sound on this new project. Generally classified as "chillwave" (think Cults or Washed Out), Memory Tapes combines styles from nu-gaze and synthpop to create a wonderfully fresh sound. His 2009 album Seek Magic received attention from the blog community for songs like "Bicycle" and "Green Knight," but his new LP Player Piano released last month reaches new heights in creativity and accessibility. Check out these excellent selections:
Memory Tapes is playing at the Empty Bottle in Chicago TOMORROW with The Field Auxiliary and The Ultrasounds. There are still tickets available, so get them NOW.
Having recently moved across the country from Los Angeles to Chicago for graduate school and finding myself supplied with an uncustomary amount of free time, I decided to begin sharing one of my greatest passions with the world and create an amateur music blog of sorts. Music is one of the greatest uniting products of humankind, as it reaches across lingual, cultural, geographical, political, and generational gaps. Music makes us feel better, feel worse, feel excited, feel angry, feel alive. I, like many of you, spend a significant portion of my life exploring and discovering excellent new music, much of which never makes it off the ground for lack of recognition. This trifling attempt to remedy the situation is my small contribution to the beautifully uplifting universe of music.
For my first recommendation, I find it appropriate to pass on an up-and-coming band that is starting to make a big splash in the world of "indietronica" this summer alongside leading acts à la Yeasayer, Animal Collective, etc. Hooray for Earth is a four-man group originally from Boston, masterminded by singer and producer Noel Heroux. They often collaborate with the Zambri sisters in New York City, with wonderfully harmonious results. After a commendable effort on the MOMO EP in June 2010, they released the marvelous full-length True Loves this past June 2011. Check out these two tracks:
