Tag Archives: jagjaguwar

2014, albums, music, Soundcloud

Stream: Sharon Van Etten – “Are We There”

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I know that nine chances out of ten I’m trying to keep this blog full of music by artists that probably aren’t getting too much attention around the internet, but I couldn’t help taking a day to talk about the new Sharon Van Etten LP.

Not exactly obscure by any stretch of the imagination, I think that it is pretty fair to say that the secret is out about Van Etten. Her renown grows with each release, and after 2012’s “Tramp” it seemed that she’s reached a new peak, but that only means that the stakes were that much higher for her next album.

I think that it was because of that expectation that I had a hard time coming around to listening to “Are We There” for as long as I did. I’ve had several opportunities to listen, as whomever is behind her marketing is doing a pretty great job. No matter where I turn to on the internet there are ads, on Tumblr, on Facebook; and then there are all the blogs that are talking about it. Not that I have read any reviews. I wanted to experience it on my own for the first time. I knew that I would get around to it eventually, but I was tentative. The same thing happens whenever of Montreal releases a new album. I’m such a huge fan that I get nervous that I’m not going to like their latest and I’m going to have to move on from them.

Anyway, it only took a few seconds to realize that “Are We There” was not going to be a disappointing listening experience. Her voice is as confident as ever, maybe even more so. Production-wise, “Are We There” covers similar ground to that of “Tramp” but a little bit of the polish is stripped away. Van Etten’s powerful, emotive, voice is front and center. With her distinctive voice, melodies and lyric material it’s clear that Sharon is constantly pushing herself, and the results on this album are quite striking. The hook that is sticking with me right now is the haunting chorus of “Taking Chances,” perfectly orchestrated to outline Sharon’s upper register, while the verse remains mainly concerned with her breathier alto.

Songs are expertly arranged, and I think that this is most evident on “Your Love Is Killing Me.” It’s on that track that we really hear something being built from the ground up. Beginning with an echoed and distant drum track, an organ eventually makes its entrance, followed soon thereafter by Van Etten’s voice, the guitar slips in almost unnoticed and then the chorus. The way that the entire verse is designed to really launch into that first chorus is pretty powerful, and creates enough tension to propel through to the end of the song. Sharon’s voice grows continually stronger throughout, and by the end one is left struck by how powerful it can be.

I’m sure you’ve probably been hearing a lot about this release already, but (unlike an Arcade Fire album) this one is worth whatever hype can be thrown at it. It’s out now from Jagjaguwar, and Sharon is currently on an extensive tour, just in time for the Summer festival season! If you recall, her last show before taking time away from touring to record this album was in (near) Portland at the Pickathon, and I posted a few tracks here if you are curious.

Pick up “Are We There” anywhere, and catch her on tour everywhere.

Find Sharon on Facebook//Twitter//Instagram//Web//

Fri. May 30 – Barcelona, ES @ Primavera Sound
Sun. June 1 – Koln, DE @ Studio 672
Mon. June 2 – Berlin, DE @ Privatclub
Tue. June 3 – Amsterdam, NL @ Bitterzoet
Thu. June 5 – London, UK @ KOKO
Wed. June 11 – Boston, MA @ Sinclair
Thu. June 12 – Brooklyn, NY @ Music Hall at Williamsburg (Northside Festival)
Fri. June 13 – New York, NY @ Bowery Ballroom
Sat. June 14 – New York, NY @ Bowery Ballroom
Tue. June 17 – Washington, DC @ 9:30 Club
Wed. June 18 – Philadelphia, PA @ Union Transfer
Thu. June 19 – Millvale, PA @ Mr. Small’s
Fri. June 20 – Cleveland, OH @ Beachland Ballroom
Sat. June 21 – Nashville, TN @ Exit In
Tue. June 24 – Denver, CO @ Bluebird Theater
Wed. June 25 – Salt Lake City, UT @ Urban Lounge
Sat. June 28 – Los Angeles, CA @ El Rey Theatre
Sun. June 29 – San Francisco, CA @ The Independent
Mon. June 30 – San Francisco, CA @ The Independent
Wed. July 2 – Portland, OR @ Doug Fir
Thu. July 3 – Portland, OR @ Doug Fir
Sat. July 5 – George, WA @ Sasquatch Festival
Sun. July 6 – Vancouver, BC @ Rickshaw Theatre
Tue. July 8 – Calgary, AB @ Republik
Wed. July 9 – Edmonton, AB @ Starlite Room
Mon. July 14 – Fargo, ND @ Aquarium
Wed. July 16 – Minneapolis, MN @ First Avenue
Thu. July 17 – Madison, WI @ University of Wisconsin
Fri. July 18 – Chicago, IL @ Pitchfork Music Festival
Sat. July 19-Sun. July 20 – Louisville, KY @ Forecastle Festival
Thu. Aug. 7 – Sun. Aug. 9 – Goteborg, SE @ Way Out West
Sat. Aug. 9 – Olso, NO @ Øyafestivalen
Tue. Aug. 12 – Bezirk-Landstrasse, AU @ Arena Wien Open Air
Fri. Aug. 15 – Hasselt, BE @ Pukkelpop
Sat. Aug. 16 – Crickhowell, UK @ Glanusk Park – Green Man Festival

2013, albums, music, reviews, video

The year in review: Small Black – “Limits of Desire”

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Small Black - "Limits of Desire"
Small Black – “Limits of Desire”

It makes me happy to know that the band with the ironic name that I thought was only going to have one good EP, a s/t 2010 release on Jagjaguwar, that I would listen to until I got sick of it (like that ever happens) managed to get a full length album out this year. It makes me even happier that “Limits of Desire” is an album that is definitely worth writing about, and finds the band exploring their sound and different musical directions within that sound.

Though initially lumped in with other chillwave (thanks, Hipster Runoff, for giving us that genre label before falling into complete irrelevance, bro) artists like Washed Out and Neon Indian, they are moving closer to electronic music similar in style to Starfucker. From the opening synth of “Free at Dawn,” to when the vocals enter on that track, it becomes clear that this is going to be a cleaner album, bereft of the grit that permeated large swaths of their previous EP. So call them synthpop, or call them chillwave, or forget the label altogether and just listen.

What comes through, beyond all the labeling, are songs that reach for status as electronic anthems replete with drum machine beats that are mixed clear and clean, right up front. And there is a fine line between chillwave and soft-rock, however, and some of the album is a bit fuzzy on which side of the line it is on. Without the grit and graininess of the EP some of the edge is lost. This is most notable on “Canoe,” its layer upon layer of galactic synth sounds taking over the entire track. Thankfully these moments of soft-rock-bordering are balanced with some buzzier synths.

Before we make a hasty decision to file “Limits of Desire” alongside Destroyer’s smooth-jazz-tastic “Kaputt” it should be noted that the melodies within these songs are something worth remembering. Small Black doesn’t stop at texture and timbre without delivering on a whole lot more.

You can check out their video for “No Stranger” below, and head over to their official site for more. “Limits of Desire” was released May 14th and is available from Jagjaguwar.

Small Black: Web//Jagjaguwar//Instagram//Facebook//Twitter//Tumblr//

2013, albums, music, news, reviews

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

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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.

2012, music, songs, tympanogram, video

Video: Sharon Van Etten – "Leonard"

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(Post originally appeared on Tympanogram on March 9, 2012)

I’m still beating myself up over the fact that I wasn’t able to turn out a review for the newest, and stunningly beautiful, Sharon Van Etten LP Tramp. She’s currently on tour, and the album has been getting deservedly rave reviews. If you have not checked it out yet here is the latest video for the song “Leonard.” Don’t let the seemingly upbeat guitar strumming fool you, this song is about heartbreak. Van Etten sings “he’s smart, he leaves me wanting more, knowing that I gave less and knowing why” and it becomes clear that nobody is the bad guy here, or perhaps they both are. She sings with a longing in her voice, delicately calling out “I love you,” and one could easily imagine her reaching out, hoping for him to turn around and reconsider. That the song ends melodically and harmonically unresolved gives us a sense that she’s still holding out hope.

It’s a beautiful song, and the video’s kaleidoscopic, mirrored imagery perhaps hints at the confusion felt on her part as she re-examines the entire relationship from every possible angle, which only results in more unresolved confusion.

Her tour will likely come to a city near you, as she has dates booked clear through the summer, though there appears to be a few gaps that will likely get filled in so check her tour page here. Tramp is out now on Jagjaguwar.

Connect with Sharon Van Etten // Web | Twitter | Facebook
2012, miscellaneous, music, news, thoughts, tympanogram

R.I.P: Chris Reimer of Women

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(Originally posted on Tympanogram.com on February 22, 2012)

Women
Women (L to R: Chris Reimer, Michael Wallace, Matt Flegel, Patrick Flegel)

The Calgary Herald has reported that Chris Reimer, guitarist for Women has died. As of right now there is no information, as you can read in the short article, beyond that he has passed away in his sleep.

Bands like Women don’t come around too often. They were brash, defiantly experimental and if you ever had the chance to catch them live you would know that they were a phenomenally gifted band with a unique sound and vision. In my mind they were a bit like Sonic Youth with their penchant for noise fueled, disjunct interludes filled with barely controlled feedback. Looking deeper than those surface level considerations one would find intensely chromatic and modal contrapuntal interplay between the guitar parts that boast extended jazz harmonies fastened within a punk rock aesthetic. Production by Chad Vangaalen managed to harness peripheral ambient sounds onto their two albums that contributed an extra layer of grittiness to their already abrasive sound.

It has been up in the air whether Women would reform after their indefinite hiatus began not long after the release of their most recent, and brilliant, Public Strain – though a single, “Bullfight” was released on a split 7?, not appearing on either album, after their breakup as well as a series of eerie live videos recorded for Pitchfork, gave fans like me a glimmer of hope, it looks like this is truly the end. Please do yourself a favor and give a listen to both of Women’s albums.

This is a tragic loss of a truly gifted, young musician.

ETA: Christopher’s sister, Nikki, has posted a blog with posts to remember him by.

A series of haunting videos on Pitchfork captures 3 fantastic performances of the band recorded just before they stopped playing together.