Tag Archives: indie

Review: Nao, February 15 ep

Nao, February 15 ep (Little Tokyo Recordings, 05/01/2015)

Sophomore release from the London-based singer/writer/producer, released on her own Little Tokyo Recordings label.

Nao is another in a line of new artists putting modern production touches over largely 80s-indebted r&b workouts.  Her voice, much like AlunaGeorge’s Aluna Francis, inhabits a perky, helium-fueled upper register – yes, there will be pitch shifting, but it doesn’t get too distracting.  While not a thundering, break the glass diva á la Mary J. or a soft, come hither crooner like Sade, her voice slinks in, around, and through a groove, still commanding attention through weight of charisma.

The arrangements here walk a fine line between the poppier, hook-laden dance music of AG and Disclosure and the more esoteric, narcotic r&b of artists like Kelela, SZA and Jessy Lanza.  There’s lots going on in these tracks including, notable to these two ears, the use of “natural” instrumentation in the mix (check the Sade-meets-Rick James bass line in “Golden”); more recently, the province of neo-soul revivalists. Each song clocks in at a very radio friendly run time, but there are open spaces throughout which leave room for interpretation – whether live or via remix – that make them more than merely ear candy.

Highlights include the transmogrified Zapp/Roger electrofunk (complete with what sounds like electric cowbell!) of “Inside/Outside” and the psychedelic soul of Prince-infused “Apple Cherry” (the name alone…).  For my money, though, the gold to mine from this particular vein is found in lighter tracks, including lovely ballad “It’s You” and, er, “Golden”.

The February 15 ep is available now on iTunes, and gets a vinyl release July 6, courtesy of Dummy Records.

Check out Nao on Facebook, her site and Soundcloud.

New Track: Taiwan Housing Project, Maintenance of An Application

Taiwan Housing Project, Maintenance of An Application (M’Ladys Records)

In a post-Memorial Day world, where ears often tune to vacuous pop paeans to partying, dancing, being hot for some girl, guy, Barbie robot, zombie sex god …there’s this sweet bit of dissonant, raucous, noisy relief from Philly’s Taiwan Housing Project.  A feel good hit for a different summer.

This is a gloriously disorienting, careening, mess of a song.  Peals of feedback screech, dive, swoop and swirl like so many banshees around the shouted vocals of Kilynn Lunsford, held together (just) by a steady, ominous rhythm – the aural equivalent of the psycho dude with the flesh mask and the power tool whose lurching, relentless pursuit is undeterred by gunshot, stabbing and/or burning.  Sweet dreams!

“Maintenance” is taken from a new EP, which gets a physical release July 28, courtesy the awesome (or, should i say, esteemed) M’lady’s Records out of Portland, OR – you can preorder a digital copy now on the label’s Bandcamp page (while you’re there, you can listen to another great, Sonic Youth-y track, “White Frosted”).

Go like the band on Facebook, and check out their other releases on Bandcamp.

Album Review: Cathode Ray Eyes, Eyes In the Melancholy Palm

Cathode Ray Eyes, Eyes In the Melancholy Palm (Cardinal Fuzz (UK); Captcha Records (US))

Dread.  The itchy, claustrophobic feeling of something terrible imminent; close; around the next corner.  It can be as universal as the looming spectre of time or as specific as a stalker.

Dread hangs heavy over Eyes In the Melancholy Palm by Cathode Ray Eyes, the one-man side project of Ryan Delgaudio from The Cult of Dom Keller (a Nottingham-based band I was not familiar with but, having listened to this album, am anxious to listen to).  Within, we have tales of grim reapers, dead whores, “drowning rats”, worlds on fire and places with “no beginning, middle or end”. Much like the dread in stories like Lovecraft’s At the Mountains of Madness, it is palpable but never quite comes into full focus – a slow-burn stressor, without resolution.  Is the evil real, or are we witness to the waking, post-traumatic nightmares of the protagonist?

Despite the Celtic Frost-summoning title, Eyes In the Melancholy Palm is psych rock par excellance.  Heavily distorted vocals leer from behind a gauzy curtain of drone-laden, looped guitars; narcotic splinters of gothic, ambient waves underneath:  Joy Division scoring 28 Days Later.  Expected reference points like Brian Jonestown Massacre and the darker side of Thirteenth Floor Elevators share time with The Cramps, Clinic, Spacemen 3, The Cure (I kept hearing shades of songs like “The Snakepit” and “Like Cocaktoos”), even Fad Gadget’s death disco.

While heavy (both metaphorically and literally), there are moments of bliss throughout – the resolution around the 2:40 mark of “Goodbye to Wonder”, the surf-reverb on “Drowning Rats” – finding another (friendly?) human face amidst the ruins.  It is also a rare record that actually get better, more fulfilling, as it slides along – the second half trilogy of “Goodbye To Wonder”, “1,000 Suns” and Wire-laden closer “Where There Is No Beginning, Middle or End” the most affecting on the record.  “Get me out of here/before I lose control” a most fitting lyrical coda to this collection.

Eyes In the Melancholy Palm is out June 1 on Cardinal Fuzz (UK) and Captcha Records (US).  Check out the band on their (his) Facebook page.  [Update:  the good folks at Cardinal Fuzz tell me the album is available starting tomorrow (May 20).]

Highlights include:  “1,000 Suns”, “Goodbye to Wonder”, “I Woke Up This Morning and the World Was on Fire”, “The Unsuccessful Resurrection of James Dean”.

New Track: Dot Dash, Rainclouds

Dot Dash, “Rainclouds” (The Beautiful Music)

 

This D.C.-based quartet has been releasing records since 2011 – though, in the interest of full disclosure, I must admit to having missed the boat on these guys up ’til now.

The lineup is packed full of D.C. scene muscle, featuring vets of acts such as Minor Threat, Government Issue, Youth Brigade, Swervedriver and Julie Ocean. “Rainclouds”, taken from new album Earthquakes and Tidal Waves – out now on The Beautiful Music – arrived in our inbox from the band themselves (THANKS!).

The song cleaves a channel between the punkier side of power-pop and the woozy, post-punk take on pop of mid-period Wire (the band’s name is taken from the title of a Wire song, though not one from that period).  Lead singer Terry Banks sounds…go with me…a bit like a two-faced Janus – one side Colin Newman; the other, Robyn Hitchcock – fronting first album Cheap Trick, The Records or Hoodoo Gurus, throwing kiss-offs to a friend ‘neath a perpetual dark cloud: “summer breezes dancing through the trees/and you can put, the blame on me/your concrete shoes are giving you the blues/I’m footloose and fancy free”.  Throw in some sweet falsetto and you’ve got the makings of a breezy, yet muscular track.  Can’t wait to listen to more from the band.

Check the band out on Facebook and/or Twitter.  Earthquakes and Tidal Waves is available on iTunes or via the band’s Bandcamp page.

New Track: Unknown Mortal Orchestra, Multi-Love

Unknown Mortal Orchestra, “Multi-Love” (Jagjaguwar)

While I’ve not always saluted the flag raised over modern purveyors of ‘70s AM mellow gold-inspired psychedelic pop, Portland, Oregon’s Unknown Mortal Orchestra has always felt a bit different.  The band’s music sounds both 8-track and FLAC; a mixing of ‘70s, white guy R&B/“easy” psych-pop with more modern beats and structures.

“Multi-Love” is a good example. A call and response between the two eras – Supertramp-style organ and groovy sitar cut short by breakbeat rhythms.  The cool, dispassionate robots of rhythm harshing your yellow-tinted memories of the polyester itch and chafe of a hot, wet American summer.  The production has the band (and, in particular, vocalist Ruban Nielson) less covered in dandelion fluff than on past recordings, Nielson’s keening falsetto slinking over lines like “she doesn’t want to be your man or woman/she wants to be your love” – ‘60s free love, ‘70s key parties, ‘80s androgyny or modern, online virtual physicality?  Why choose?

Taken from new album, Multi-Love, released May 26 on Jagjaguwar.  The band is also going on tour, starting in May – check out dates on their site or Facebook page.

New Track: Communions, Out Of My World

Communions, “Out Of My World” (Tough Love)

We here at thegrindinghalt previously sang the praises of Copenhagen’s Communions and their progression from insular post-punk to a larger, cinemascope take on ‘80s indie.  This new single is their most wide-eyed yet.

The title gives one a pretty good idea of what to expect.  I’ve no idea how old the members are, but this is the sound of crushing (noun and verb) love, in a way felt during a certain period of one’s life. Martin Rehof’s despaired vocalizing of lines like “you’re the queen of your scene/and I’m just watching through a screen” and “no boy or girl/has made me feel the same” runs thick with the salt water taffy (melo)drama of unrequited love/lust.  The largeness of the arrangement almost consumes the vocals, reflecting the wistful beauty of the strongest of emotions being left unspoken, or restrained within the four corners of one’s mind (or room); a love note labored over, but never sent.

The production is filled with ‘80s touchstones – from the shotgun reverb on the drums to the synthesized sheen over the guitars – and calls to mind everything from mid to late period The Smiths and The Cure, New Order at their more romantic, even OMD in their pomp.

An alternate Ducky’s theme from Pretty In Pink? Perhaps – maybe this one would’ve worked.

Taken from new, self titled EP, due June 1 in Europe and June 2 in the U.S. on Tough Love and in Japan on Big Love.

New (To Me!) Band of the Day: Sheer Mag

7” (Wilsuns RC)

“Button Up” (Katorga Works)

Sheer Mag are a Philadelphia-based outfit with an obvious love of ‘70s rawk.  Many reviewers have pointed to the obvious indebtedness to blues/hard “classic” rock stalwarts like Thin Lizzy (hell, the band’s logo on their Bandcamp page even looks like a cross between those of Lizzy, Van Halen and, um, early Voivod) and their take on muscular, blues-y riffage.  I can’t help but hearing tuneage that would’ve fit nicely with a lot of the 70s output of labels like Stiff Records.

That is, gloriously throwback rock and roll; a messier version of the slick sound of ‘70s FM rock radio.  Bands indebted to a leaner, simpler, catchier vision of blues rock; more T. Rex stomp than Led Zeppelin pomp.  There’s more than a hint of the fuzzed-out power pop of a Wreckless Eric or The Only Ones on songs like “Hot Lovin’” and “What You Want” from their debut 7” (even the song titles are as ‘70s as bellbottoms and shagwagons, no?).  Singer Christina Hallady’s pipes sound like they’re fittin’ to burst under the weight of all that fuzz, as she channels the fiery throatiness of the likes of Joan Jett.  On new track, “Button Up” (from an upcoming 7” to be released on Katorga Works), the band sound (a bit) less charmingly messy, but more anthemic.  Building from a straight-up Chuck Berry as channeled by Angus Young riff, the song uses an overlay of surprisingly shimmery guitar to accent the proceedings.

This shit is fun – get out your hair brush and sing along, then get out of the house and check them out on tour.

New Track: Pile, The World Is Your Motel

Pile, “The World Is Your Motel” (Exploding In Sound)

This little tornado blows through your farm in less time than it takes to scream “Auntie Em!”, so I’m gonna give it a short and sweet write-up.  The track bucks and kicks amidst Fugazi-style stop/start pacing and stabbing guitar work, while singer Rick Maguire starts off sounding like Black Francis channeling Lee Ving and ends sounding a bit like Mark E. Smith.  Great stuff.

There; you can come out of the cellar now…

From the album, You’re Better Than This, out now on Exploding in Sound (US) and Fierce Panda (UK).  Also available on their Bandcamp page.  Go forth and purchase.

New Track: Ezra Furman, Restless Year

Ezra Furman – “Restless Year” (Bella Union)

The title says it all, really – this song bounces around breathlessly from style to style like that guy trying to bust out of the comic book at the end of that A-ha video:  a 70s cheese ooh-la melody, a bass line that sounds like a spazzy version of the same from a Three Dog Night “classic”, a frenetic bridge that starts off sorta sounding like The The’s “Infected” played on pots and pans and closes with Ezra shrieking over power chords of “death” being his “Tom Sawyer”.  He’s like the guy who gets distracted in the middle of telling a story to start another one – and you go with it.  Ezra Furman’s back, with his Boyfriends – hooray!

From his as yet untitled new album, due this summer on Bella Union.

New (To Me!) Band of the Day: Landshapes

Two new tracks, representing my first exposure to this London-based four piece. Both are taken from sophomore album, Heyoon, to be released by the consistently great Bella Union label.

The first, “Moongee” is trippy, moody, and vaguely psychedelic.  A turn down down a dark, cobblestoned street, lamp posts encircled in fog, the moon creating a corona of misty, distorted light, stalked by a churning rhythm underpinning a swirly interplay between tense guitar work and detached vocals.  Reminds a bit of Mezzanine-era Massive Attack.

The newest, “Stay”, is less languid – all stabby, post-punk guitar shredding and insistent drum/bass work.  Think everything from the Banshees, up to Savages and Wytches, with more than a bit of the low end thump of early Bunnymen and even Interpol.  Music to pogo to, ‘neath the strobes; sweaty, propulsive stuff. Check the video, directed by David Graham.

For a band that, I believe (at least in it’s current iteration), has only been around for 3 years or so, they have a very strong dynamic.  Lead guitarist Jemma Freeman is a revelation; she has the ability to command through both the front and back of the mix.  Vocalist Luisa Gerstein carries a bit of a Joni Mitchell-like vibe with her phrasing and intonation, while the rhythm section of Dan Blackett (drums) and Heloise Tunstall-Behrens (bass) keep it tight.

Their artist bio page on the Bella Union site ends with a suggestion – “climb inside and explore” – I second that emotion.

Heyoon debuts May 4.  Check them out on their Facebook page.