Category Archives: 2013

2013, albums, music, reviews

Best of 2013: Fuzz s/t

Leave a comment
Fuzz - "Fuzz"
Fuzz – “Fuzz”

I know that I’ve at least mentioned this album in passing before during past posts, but now that I have finally had the chance to actually sit down and listen to it a few times I figure that it would be a good time to actually talk a bit about it.

Ty Segall, famous for being almost comically prolific, releasing several albums a year, usually with at least a few different bands, has released an album with his newest band Fuzz that features Ty on drums while retaining vocal duties. This, actually, isn’t the only thing that Fuzz will release by the end of the year. In addition to this self-titled debut release they’ve put out two 7″(1, 2) and then there is a live album that just came out this week, recorded in San Francisco at the Eagle, Ty’s home base, for his birthday in which Fuzz, along with Total Control, opened for Thee Oh Sees.

In that teaser one can hear Ty being barely able to contain his excitement when drumming, as the pulse ebbs and flows with each verse and chorus, but Mootheart and bassist Roland Cosio follow Ty’s lead.

And though the garage elements of Ty’s music will surely never go away, they are part of who he is, I think that Charlie Mootheart’s guitar style and tone adds a bit more of a Black Sabbath, early classic rock vibe to all of the tracks. His thick, bonecrushing, distorted guitar tone is way up front on this one. It seems that for the most part, despite Ty being center stage, that Mootheart is actually the “frontman.” His endless and effortless solo work merges seamlessly with his duties as rhythm guitarist. Sometimes, for example on the opening track “Earthen Gate,” he can take the entire song in an unexpected direction, and with a simple harmonic shift pulls the band in a completely different direction.

Though similar in certain ways to Ty’s “Slaughterhouse” album, the hard-driving energy blast that propels these songs takes them out of the territory of sludge in which many of the tracks of “Slaughterhouse” seemed to live. The energy is directed, while the overall sound is allowed to remain more or less raw. The solid guitar work is underpinned with Ty’s explosive drum fill blasts that pop up at every opportunity.

I’d say that this album falls squarely into the category of stoner rock, if that even means anything. But, seriously, nothing screams “sitting in a dimly lit basement bedroom with a group of friends surrounding a bong” than that album cover art. Steady, straight ahead, heavy garage thrash. Stoner blues as I’ve read it described elsewhere online. Songs like “Hazemaze” sound like a few dudes just jamming on 4 chords. Power chords in the verse, solo riffs in the chorus. Simple formula, but contrasting a staid verse with an unhinged chorus is something that works, just ask Thee Oh Sees. In “Hazemaze” Ty gets a chance to really stretch out and show off his drum chops, wildly filling in any and all empty spaces between sections. Another track, like a combination of “Hazemaze” and “Earthen Gate,” “Loose Sutures” takes the 4 chord jam to surprising territory in the verse, and to an honest shredding guitar solo that really allows Mootheart to let loose for a while before giving Ty another shot.

Probably my favorite of Ty’s releases to date. From the classic rock guitar stylings that are brought out more than on any of his other projects, to the more direct and punishing material like “Preacher,” this is really a bit different than anything that Ty has been involved with, though not too different. It’s not like anyone is going to listen to this album and be surprised that it’s a Ty Segall album, but if one is to listen closely it’s Ty’s music coming to us from a different angle. Worth a listen or two, which you can do with the handy youtube video below. You can also head over to Midheaven Mail Order to purchase “Fuzz.”

 

2013, albums, music, news, reviews

Best of 2013: Foxygen – “We Are the 21st Century Ambassadors of Peace & Magic”

Leave a comment
Foxygen - "We Are the 21st Century Ambassadors of Peace & Magic"
Foxygen – “We Are the 21st Century Ambassadors of Peace & Magic”

Again, my story is the same as before: I get obsessed with certain albums during the year and other ones that are equally worthy of several listens start to fall by the wayside. Foxygen’s “We Are the 21st Century Ambassadors of Peace & Magic” is one such album. And of course after I realized on what I had been missing out I started listening to the album several times a day. I felt like this was a penance of some sort, or maybe in some ways a way for me to “catch up,” if such a thing is possible.

The thing is though, that even after all that listening, I still can’t quite put my finger on what makes this album so great, and why I can’t stop listening to it. There isn’t just one thing, it’s the amalgam of poppy melodies, retro sounds, catchy hooks and the mixture of sounds past and present. One second there are Beatles-esque horns (“In the Darkness”) and the next thing you know Neil Young walks in the room and takes over an entire verse (“No Destruction”).

Speaking of Neil Young, it’s not like the verse of “No Destruction” simply reminds me of that of “Barstool Blues” from Neil’s “Zuma” album (my favorite of his), but it really just is the same verse with the words changed. I’m not faulting Foxygen at all for this, and there’s two reasons why: first of all, if you’re going to rip someone off do it unabashedly and obviously and steal from the best. Secondly, they use Neil’s verse as a starting point, it is merely the seed that the remainder of the verse springs from. They take everything in a different direction. Where Neil’s song is tense with pain and heartache, Foxygen finds relaxed thoughtfulness.

There are many points like that across “We are the 21st Century Ambassadors of Peace & Magic.” I know that I probably use the term “post-modern” far too much, but it’s so often apt for bands lately. Foxygen has some of the same characteristics of Brian Jonestown Massacre or White Fence, where you’d swear up and down that there is no way that this album came out this year. On the other hand, Foxygen retains that ability to use their influences as jumping off points, reaching beyond them, touching upon them and then following them wherever they may lead.

One of my favorite traits of a lot of the songs is the way that the band is able to use a switch from simple-time to compound-time as a means for separating the verse from the chorus, take for example “On Blue Mountain,” with the the ultra soulful singing of Sam France taking center stage. And rightfully so, France’s wailing in the verse allows one to easily picture him dropping to his knees, arching his back and shouting to the skies, eyes closed, microphone in hand, as he sings “I was looking through a bible.” Similar rhythmic modulations and soulful singing appear on the funky, mellotron and synth lead song “Shuggie.” The breaks in “Shuggie” take on a life of their own as the funk and soul gives way to a bouncy outro with a tack-piano buried in the back of the mix.

But this soulful rasp that evokes images of James Brown is immediately contrasted with the gentle and sweet singing that appears on the following track “San Francisco,” a lilting melody appropriating the wall of sound. Doe-eyed hopefulness and peace are presented with the help of a glockenspiel and distant echoed backup singing.

I suppose, yes, I do hear the Rolling Stones influence through their songs, but to me there really is more of a focus on psych-rock, as evidenced in the shambling guitars and horns of “Bowling Trophies.” This really is, simply put, a melting pot of early rock, funk, and soul, and it’s a damn groovy album as a result. Every track is noteworthy and catchy as hell, making this one of the year’s best albums.

2013, music, news, video

Video: Child Abuse – “Cut and Run”

Leave a comment

This band was just brought to my attention today and my first reaction (after about somewhere between 1 and 1.0001 seconds within hearing their stuff) was that I had to write about them.

I’m literally looking stuff up about them as we speak, but I think that it would be better if I just sort of let the videos do the talking. There are a bunch of live clips of Child Abuse playing at Death By Audio over the years. From what I can gather the situation we have here is that if you like Lightning Bolt, then you are going to love Child Abuse. Noisy, loud, distorted beyond seemingly all comprehension, unintelligible lyrics and more fierce energy than normal humans can muster in a week, right there on stage in moments.

There’s a pretty OK interview with them here where they discuss classifying their music as a hybrid of jazz and metal and “a bunch of other stuff. Everything really.” It does have elements of math-rock and thrash with the stop-start spasming of rhythm with the occasional quasi-blast beats coming forth nonchalantly from the drummer. To be honest, the entire band makes this music seem effortless, though this is not “easy” music, either to perform or to digest. Child Abuse is most certainly not making background music.

Obviously the most important thing is to listen to them. Their first album is available through Rococo Records.

2013, albums, music, reviews

Stream: Paper Airplanes – “Scandal, Scandal, Scandal Down in the Wheat Field”

Leave a comment
Paper Airplanes - "Scandal, Scandal, Scandal Down in the Wheat Field"
Paper Airplanes – “Scandal, Scandal, Scandal Down in the Wheat Field” 

Earlier this week Airhouse records released Paper Airplanes’ “Scandal, Scandal, Scandal Down in the Wheat Field.” The release successfully bottles heady, thematic, album oriented rock music that is driving and passionate, and even more importantly, exciting and at times joyful and exuberant. A full album, that takes advantage of every minute that it has to offer. Like many song-cycle albums, it’s dense. There is a lot of material, but that is not a negative aspect in the least. I am of the opinion that the job of an album, and the job of an artist, a true musician, is to be able to create music that needs to be heard. The trick with an album constructed in this way is that the artist needs to create an entire album that needs to be heard as an album. Sure there are some songs that the listener will grab onto more than others, but in order to fully grasp the reality of the disc one must settle in and listen from front to back.

Paper Airplanes have managed to create such an album. A rare feat.

Like any good song cycle album, the listener is taken on a journey. The sequencing of the tracks is just as important as it would be with any other album, but this has the extra added challenge of needing to tie each element into the larger shape of the narrative arc. “Scandal…” deftly accomplishes the feat of creating a cohesive album of songs that are bound to each other to create a truly engaging solitary work.

Singer Marcus Stoesz’s voice stretches out from octave to octave, exploring the various shadings of tone in multiple ways for dramatic affect. One minute soft, relaxed and low, while brittle, reaching and tenuous the next. “Assembly” is a good instance of this type of song where the voice is reaching, soaring into the sky in a chorus that joyfully continues almost indefinitely in its soulful refrain.

The guitar tone, on that track, and throughout the album, is decidedly bright and clean. Everything is clean.  Stoesz’s voice is very unique, and instantly recognizable or. In many ways, and I’m sure that this comparison has been drawn before, but there are elements of Paper Airplanes’ sound that are similar to that of The Decembrists. Aside from the album length narrative structure that ties all of the songs together. The way that everything was recorded, and the arrangements (beautiful use of strings appear throughout this album, as well. They underpin perfectly the keyboard and guitar led ensemble in the quieter moments. The band really does know how to use their resources to provide each song with a terrific amount of emotional depth) tend to be reminiscent of The Decembrists.

There are elements of this album that have the shade of prog-rock to it. The presence of the drums, and the large scope of the album in general are both big contributors.Something like “Chisolm Trail” that comes at the end of the album, takes its time building up momentum. A trumpet rises out of the keyboard texture only to become the backdrop to the climactic outro.

From the opening fingerpicked tension filled steel string acoustic, to the exuberant beginning of “An Account of Surprising Accuracy, Given the Messenger,” “Scandal…” simply floats from song to song.

The band is exceedingly adroit in building everything up to an exciting and memorable climax, but knowing when to back off and when to keep things simmering a bit. Take some time to listen to the album above, give it the honest listen that it deserves, maybe give it 2 or 3. You’ll be glad you did.

Airhouse Records//Purchase//Bandcamp//

2013, albums, miscellaneous, music, news, reviews

Best albums of 2013: White Fence – “Cyclops Reap”

Leave a comment
White Fence - "Cyclops Reap"
White Fence – “Cyclops Reap”

I find it hard to believe that I haven’t written about this album already. I’ve had it for so long that I couldn’t even remember if it came out this year or last, but how could I have forgotten that 2012 was the year of “Family Perfume Vols. 1 and 2”?

Never before has consistency felt so good. On “Cyclops Reap” we’re given 11 more tracks of maximum grit and garage-folk. Probably the best work that we’ve heard from Tim Presley to date. Every song on here would be at home on a year end mix.

I’m going to be talking about the Foxygen album that came out this year as well, soon, but for those of you that have heard that album you’d know that they share a post-modern take on indie rock. It’s definitely been mentioned on many blogs other than mine that White Fence takes its cues from The Left Banke, which is a route that I don’t think many other people have been taking lately. The fact that Presley is attached to the San Francisco scene that also includes the likes of Ty Segall and Thee Oh Sees provides connections between those diverse acts in ways that are improbable, though when White Fence and Ty Segall worked together on “Hair” a few years ago, Ty injected some serious noise and energy into White Fence’s sometime lulling, folk sound.

Live On Genevieve

Songs like “Beat” shamble through the speakers in an endless verse with no real beginning and no real ending. “Cyclops Reap,” like all previous material from White Fence comes off sounding like a mixtape that a friend has handed you of stuff that they have been working on at home on their 4-track tape-recorder. The only difference here being that this is worth listening to. The fragmented nature of some of the songs lends a lot to the sound. One simple idea per song, and sometimes that idea is developed a little further in the next. It’s a stream of consciousness of sorts that carries the listener through the album.

There is a lot more lead guitar action on this album than previous. Whenever there are no lyrics, there is a guitar soloing around in the background, lending an added layer that I don’t think has been explored too much on “Family Perfume” or “…Is Growing Faith.” Take “Trouble is Trouble Never Seen.” The wildly strummed acoustic guitar is doubled by a static distorted electric, and a simple 2-part melody, until the lead line comes in and the song immediately begins to fall apart. Twice. Beautifully.

To the Boy I Jumped in the Hemlock Alley

Following “Trouble is Trouble Never Seen,” “Live On Genevieve” begins with several of the aforementioned fragments cutting in and out. But I think that my favorite track off of “Cyclops Reap” has to be “To the Boy I Jumped in the Hemlock Alley.” The slide guitar melody that comes in and out of play, the incessant interruptions from the overly reverb drenched organ. The whole thing ends up sounding like 60’s psych folk one second and then demented country music the next.

If you haven’t gotten on board with White Fence then start here. Or, alternatively, you could wait maybe another month or two, as I’m sure that Presley won’t be able to not release anything for very long.

Speaking of which, he has recently put out a live album on John Dwyer’s (Thee Oh Sees) Castleface Records. “White Fence Live in San Francisco” was released earlier this month (November 5, 2013) and you can pick up a copy from Midheaven mailorder here. Though I haven’t caught him/them live yet, I’m sure that when I do it is going to be one to remember.

2013, albums, miscellaneous, music, news

Re-release: Butthole Surfers

Leave a comment

Butthole Surfers

One of, if not the, most notorious band of the past few decades, the Butthole Surfer, made their name with their acid soaked albums, drugged out, strobed out, live performances and in general just acting like (or actually being) insane people.

There’s good news, in case you may have missed your opportunity the first time (or perhaps you never even knew that you had an opportunity the first time) Latino Burger Veil has re-released, on vinyl, “Psychic Powerless…Another Man’s Sac,” “Rembrandt Pussyhorse,” “Locust Abortion Technician,” and “Hairway to Steven” for your listening pleasure.

The 4 long out of print albums, originally released on the mostly defunct Touch and Go Records imprint, have been reintroduced yet again to a (slightly less) unsuspecting public on the band’s own Latino Burger Veil records.

For the completely uninitiated, here’s a brief recap. Ok, you all know The Flaming Lips, right? Well, they basically got their start by aping the Butthole Surfers. It’s complete acid freak out rock. The album titles alone should probably be enough to give a clue as to what is going on.

Personally, I have their first two albums, “Psychic….Powerless….Another Man’s Sac” and “Rembrandt Pussyhorse,” and I’m still amazed and perplexed by the music. It’s really like nothing else you’ve heard before. I think that lately I have been tossing that phrase around a lot, though it is safe to say that for something like this, it’s pretty close to the absolute truth.

Negro Observer

If you haven’t read Michael Azerrad’s fantastic “Our Band Could Be Your Life,” which documents the American underground rock scene of the early 80s up to 1991, well first of all you need to do that right now. Seriously, as soon as you can. Read that book cover to cover. In that book Azerrad details the triumphs and struggles of, for example, The Minutemen, Sonic Youth, Big Black, Black Flag, and The Butthole Surfers, among others. One of the stories that I remember vividly from the book is about how at one point early in their career the Butthole Surfers were literally starving. Delirious and weak, band leader Gibby Haynes is crawling around on the ground for spare change not so he can buy food, but so the band can score some acid.

That’s what we are dealing with here. It’s pretty much the closest one can get to listening to controlled (barely) chaos. The songs thrash about wildly, held down by tribal pulsing and Haynes’ voice echoing ominously through the haze.

Waiting For Jimmy To Kick

And with a name like The Butthole Surfers, one would have to suspect that this is going to be antagonizing music. That assumption would be correct. Everything from their name, to their infamous early live shows that included projections of penis reconstruction surgery behind the band that played in near total darkness, with topless dancers lit by incessantly flashing strobe lights (there’s also the story about the one dancer that came to find out she was epileptic while performing at a show. Her uncontrollable vomiting then become a bonus visual to freak people out at that show).

Their output could sway every which way from the actual honest to goodness hooks and verse-chorus-verse structure of “Negro Observer,” to the truly trippy “Waiting for Jimmy To Kick,” or their cover of “American Woman.” Errr, excuse me, “American Women.” Anyway, if you haven’t heard them before, or if you have only heard a little bit, then please check out the music. It’s interesting and unique and documents an important time in the evolution of the American underground music scene and these four albums are worthy of being brought back to the attention of music fans that may have missed them the first time around.

There’s a ton of videos of them live on Youtube that you should check out. And then you should head over to your local record store to pick them up, or they can also be ordered online. If you’d like to check out the one-sheet that the band released to announce the reissues, you can check that out here.

2013, albums, live, music, news, songs

Stream: New 12″ EP from Kurt Vile and Ty Segall’s latest.

Leave a comment

Kurt Vile, whom I talked about not at all that long ago releases a follow up “Walkin on a Pretty Daze” from earlier this year. “It’s a big world out there (and I’m scared)” comes out today on Matador. You can listen to the breezy track above. This is a 12″ release, but isn’t a full album, instead “It’s a big world…” is an EP with some reworkings and a few new songs. I prefer this way of staying in the spotlight and staying relevant, getting people to pay attention to your music by constantly creating it. I wish that Arcade Fire would get the hint.

“Feel My Pain” sounds like something that could have very easily fit into “Walkin…” with its fingerpicked acoustic guitar and super laid back vocals. This stays completely within Vile’s aesthetic, and there is absolutely nothing wrong with that, especially for someone like Vile, who already doesn’t sound like anyone else.

I also wanted to bring your attention to Ty Segall’s new band, or newest…or maybe they aren’t his newest band anymore, because its been a few months and he could very easily have joined a dozen or more bands in the interim. But anyway, his newest project is called Fuzz, and yes, it’s pretty much exactly what one would expect from Ty at this point. Loud garage rock from San Francisco. He pretty much embodies this sound now.


The latest video begins more like a short film than a performance video, with Ty and Fuzz guitarist Charlie Mootheart loading up their van after a set-up shot that featured the clarinet opening from Gershwin’s “Rhapsody in Blue.” We get a sampling of the super distorted rumbling of the band’s sound before the video focuses a bit on non-musical material before we finally get the performance.

The band’s sound lies somewhere between pure punk rock and a latter day Black Sabbath. The classic rock and blues influences are strong in Mootheart’s riffs and harmonizing with the bass, locking down a strong groove, with Ty on drums, no less. Is there anything that dude can’t do?

I was lucky enough to catch these guys back in July, in San Francisco, opening for Thee Oh Sees. Their energy was intense and didn’t fade at all throughout the set. I’m hoping that Ty keeps this around for at least a few minutes and puts out a few albums before moving on to something else. But I guess that only time will tell.

2013, albums, miscellaneous, music, personal, thoughts

In Memoriam Sonic Youth Part V: “Daydream Nation”

Leave a comment
Sonic Youth - "Daydream Nation"
Sonic Youth – “Daydream Nation”

Well, this is the one. This is the album that I start everyone off with. It is their undisputed classic. Daydream Nation. Even the name, to me anyway, is enigmatic. It’s just perfect, flawless in every way. The opening, the close. There is not one bad thing to say about this album. I may be letting my bias show, but I am also the one that wears a toque with “Sonic Youth” sewed into it every day once the temperature goes below 50º.

Teen Age Riot

Anyway, I still remember getting this album on cassette. I like to tell myself (and others) that it is the first album that I ever bought. And though this story isn’t completely accurate (we all had our unfortunate phases when we were too young to know what it meant to listen to good music. Though, I have met some people that really haven’t had one of those phases. I am extremely jealous that those people didn’t have to go through an MC Hammer phase and a whatever the hell else phase. I listened to Top 40 radio a lot until I was like 10. So sue me.) but in a way it is the truth. Buying Daydream Nation was the first album that I ever bought that ever mattered. I never looked back, and I still haven’t. I can’t even imagine how many times I have listened to this album.

I still remember getting the tape and looking through the pictures and the lyrics and just staring at it. Everything was just part of a complete package. The color scheme, the mood of the pictures with their grainy, hazy focus of the band standing in (what I assume is) the Bowery near CBGB’s (totally guessing there, but just going with what I was thinking then) and the cover photo (which I didn’t know at the time was a famous painting, a painting which I have been lucky enough to see in person in Chicago. It was an amazing experience standing in front of that painting, with its meaning sort of reversed in a way that the painting now described the album to me, whereas when I first heard the album, it was, to me, describing the sound of that painting) and just everything seemed to be so focused and purposeful. I can’t be alone in thinking that the sound of Lee’s disintegrating amp throughout “Providence” is meant to sound like a burning candle, giving sound to the cover? And, of course, there is the song “Candle,” but that is too obvious.

Cross The Breeze

And how could those sounds be so purposeful? How could the howling guitars that blasted out of the middle of “Silver Rocket” possibly be directed, or purposeful? I didn’t know the word ‘aleatory’ back then, but I know that I was thinking about how they got those sounds – that sounded so random and scattered and loud and noisy and…great – to do what they wanted them to do? How was it that they were able to tame the wild feedback and static into the form of the songs?

I still wonder about these things to this day. It just seems like all of the elements were perfect when they were recording the album. All the mistakes fit perfectly into the aesthetic of the album. The interactions of the guitars, the structure of the songs, the lyrics, the focus, this was an already amazing band making a giant leap forward in their sound. Sure, like I said in previous posts, the sounds on “Sister,” and even as far back as “Bad Moon Rising,” were pointing to this, we all knew that something like this was on the way (well, I mean people at the time that were paying attention knew. I was only 7 when the album came out. I had no clue what was going on, I was home learning to do multiplication or something like that), maybe not something exactly like this, I don’t think that this is the kind of album that anyone completely expects. There is definitely going to be a certain amount of surprise at hearing something this great for the first time. I mean, I know that it caught me off guard.

In a way though, this album is sort of bittersweet. I really don’t think that they ever got any higher than this. This was their last release before they signed to DGC, and though I love some of those albums, most of those albums, I don’t think that they were ever able to keep the magic that was on “Daydream Nation.”

Candle

And that is part of the reason why this album is so special. It was a moment in time. It was something that even the band themselves could not replicate, and who knows if they even wanted to. This was Sonic Youth at the peak of their powers, and it has had an immeasurable impact upon my life to this day. I’m still trying to convince students that they want to take my class on post-tonal analysis that uses Sonic Youth’s output as the corpus that we’d analyze. There is just so much here. So many conventions that are shattered, so much individuality and energy and vision. I could go on for days about all the things that I remember when I first heard this album.

I truly hope that another album will come along that even makes me feel 1/10th as good as I felt when I first heard Daydream Nation, and I know that it will come someday, but at the same time I know that I’m going to be waiting for a long time before it happens.

 

2013, albums, music, reviews

Best of 2013: Buke and Gase – “General Dome”

Leave a comment
Buke and Gase - "General Dome"
Buke and Gase – “General Dome”

I’ve been keeping a close eye on Buke and Gase for the past few years, ever since I just had to have their +/- EP in 2010. What drove me to them initially was just their timbre. It was one of those rare instances where I had never heard anything like them before. Of course everyone knows (and if you don’t then you’re about to find out) they make their own instruments. So the timbre of the baritone ukulele and guitar/bass hybrid are what first grabbed me, but after listening there was so much more waiting beneath that intriguing surface.

I noticed, on that EP, that there were several layers of rhythmic complexity going on throughout most of their songs. The way that they fluidly shifted from meter to meter and from divisions of the beat, casually coasting from one tuplet to another, causing the overall structure to slide across apparent tempo shifts. Though these shifts are only figments of our imagination, they are actually staying perfectly in tempo but only reorganizing the meter as they go. This is no small feat, as the duo are in control of the percussion while they are playing and singing. It’s like 2 one man bands in one. I think that that is actually part of the reason why there can be so much rhythmic complexity. It has to do with their embodiment of rhythm, and the music in general. Also, of course, adding to their unique sound.

And that isn’t the only thing that shifts around during their tracks, there is no telling how many times they are going to repeat an idea. A comparison can be drawn here to The New Pornographers, another band that tends toward the invention of their own structures, eschewing verse-chorus-verse and repeating everything 2 or 4 times with rigidity. And where those elements were pushed more to the fore on previous efforts like “+/-” and “Riposte” they are drawing less attention to themselves on “General Dome.” 

The title track holds steady with a high degree of intensity and a persistent ostinato rhythm, Arone Dyer’s voice soaring high above the bass heavy foundation. Building up multiple layers in a complex fabric is probably most important when approaching a single-form structure such as this one, but it remains surprisingly monotonous throughout, holding onto that intensity and maintaining it at all costs.

The duo has always been reaching out and exploring new harmonies and interesting maneuvers therein, and on this album things are no different. Remarkably protean key shifts to match the rhythmic shifting. For example, “Twisting the Lasso of Truth” can’t settle on a rhythmic structure at all. The meter shifts, the accents change faster than one can grasp the pattern with which they do so, and the harmony resists focusing on a single pitch center. The song is in a constant state of flux, making it, to me, one of the strongest and most interesting on the album.

Twisting the Lasso of Truth

“Split Like a Lip, No Blood on the Beard” picks up these exact cues. The denial of verse-chorus-verse structure is strong on this track, as is a similar denial of engagement with a steady, regular pulse. Dyer’s vocals vacillate between sweet and soulful, and clipped and tense, sliding from major to minor in alternating phrases, giving an interesting shade to the melody.

Split Like a Lip, No Blood on the Beard

None of these elements are allowed to fall into the trap of becoming highly recognizable “tricks” that the band employs liberally in each song. The focus is more upon the structure as a whole and not so much just the parts that make it up. But those parts are really interesting, everything from the unique sound to their individualistic use of rhythm and song form.

You can hear most all of their work (not the +/- EP, unfortunately) on their bandcamp page. All their albums are available on cd, lp or mp3 and all are available from the bandcamp link.

2013, albums, music, Portland, reviews, thoughts

Best of 2013: Washed Out – “Paracosm”

Leave a comment
Washed Out - "Paracosm"
Washed Out – “Paracosm”

I guess I am about 5 years or more late to the party, but I just recently, maybe within the past month or so, started listening with intent to Neon Indian and Washed Out.

I missed the bus on Neon Indian the first time around for whatever reason. Who knows what phase I was in at that point that prevented me from paying attention to anything that was going on in the world around me. Let’s just blame Lightning Bolt. That was probably what I was listening to so much that prevented me from taking my friend’s advice and listening to Neon Indian.

But, actually, Neon Indian, is not the artist that I want to talk about right now, right now I am focusing on the release that Washed Out put out this year, Paracosm. It’s another album, like so many this year, that fell through the cracks for me and I’m only just now starting to give it the attention that it deserves. My only other experience with Washed Out is through hearing “Feel It All Around” about a million times (by the way, say what you will about the show Portlandia, they could have picked a more perfect song for the intro sequence. The way that the ambience makes complete sense to Portland’s grey and rainy atmosphere as pictured).

And that brings me to my main point, and that is the music of Washed Out (and Neon Indian, and Small Black etc. etc.) places a lot of focus on a visual aspect that runs parallel to the music. Sure, it’s called “chillwave,” and it’s good that this aesthetic has gotten a name pinned to it, it helps us to generalize a little bit, but I think that the music that fits the genre is more impressionist than anything.

The seamless construction, with synth sounds that smear the harmonies, preventing any harshness, or dry attack sounds. Everything on “Paracosm” seems to buff out all the harsh contrasts, swirls the colors together and then takes a few steps back, allowing the picture to slowly fade into focus. It’s music of great emotional depth and music of nostalgia, and it’s also music that depicts light and an aura, a landscape. It does this so well that somehow we are all able to pick up on it, and accept it.

More specifically, the songs on this album are a little bit more danceable than on (my only point of comparison right now) Neon Indian’s “Era Extraña.” Where they are both, in a sense, working toward the same aesthetic, Washed Out tends to, on “Paracosm,” tilt the scales a little more toward radio-friendly pop, or as close to it as chillwave will allow.

“All I know” plays elements against each other to great effect with its bouncing tempo and a soaring, yearning melody over the top, while the title track flutters into view, a bit more somber than some of the other tracks, vocals hiding a bit inside those blurred out colors. The addition of a slide guitar, awash in reverb and delay, is a nice added touch. Layers and layers of atmospherics continue to build, though never crowding the texture. Everything just floats out over top of everything else, there’s a sense of constant elevation that’s created; infinitely open and never claustrophobic, despite the dense fog of sound that grows and grows.

This album, and this music, is more about creating a picture than anything else out there. But that doesn’t preclude there from being great melodies and catchy pop hooks. That label that we are so ready to place on the music is merely a shroud that is draped over the form of the music. It’s the timbre that gives the music its defining characteristic, and I think the thing that I think most about when listening to this album is how good the songs would be if all of the atmospherics and aesthetic concerns were stripped away. I think that that is really the measure of an album, and it’s fair to say that had that happened with this album, it would stand up as a collection of great songs too.

I can’t help but hear “Mercy, Mercy Me” at the beginning of every phrase in the verse of “Great Escape.” And that’s a good comparison to leave you with, as it’s useful in summing up the sound that carries through the album from beginning to end. The soulfulness and attention to all the typical concerns of songwriting; creating a memorable melody, and a solid formal and harmonic structure, evoking a mood – all of those things are present here, and are what make the songs great. That extra layer of atmospherics are really what set them apart and keep me coming back again and again.