Adventure Time: Sleater-Kinney

So, earlier this year I was made aware of the existence of this little show called Portlandia. It stars Fred Armisen and Carrie Brownstein, and they're probably two of my favorite people on the planet right now. Their skits are ridiculously funny, plus they seem like amazing people to boot. Soon after, I discovered Carrie was also in the band Sleater-Kinney. Sleater- Kinney? That's right, I had no clue who they were. But that's alright. You see, I am now in a envious position compared to any of you people who already like the band. How do I mean? Because I now get to experience their music for the very first time.



Seven albums lie in wait for me to dip my ears into. My current target is their last studio album, The Woods, which was released in 2005. I have to say, given how much I'm enjoying it so far, I've become quite excited already. With Spotify as my weapon, my task by the end of the year is to have their entire discography under my belt. And maybe one or two sitting in my collection. My obsession with Portlandia has escalated them to "must-hear" status. Here's to you, Sleater-Kinney, and the many exhuberant months ahead!

2011: Music I Liked (Abridged)

If you want to see the full list, simply follow the link below. Due to time and convenience I only felt compelled to flesh out the top 10 here. Also, I'm lazy. Or smart. Or both.

http://rateyourmusic.com/list/PassionateIntrovert/2011__music_i_liked

Be sure to speak up and tell me what you think of my picks and if are disappointed by the lack of an album that you are personally fond of from last year.

10.
Young Prisms- Friends for Now


Shoegaze breaking into Brandon's top 10? What a shocker! To be fair, I didn't foresee this album breaking so far into my list, but Young Prisms has the ability to channel the classic 90's shoegaze sound, and make it fresh again. Also, they are further proof that I simply can't satiate my appetite enough of this genre, when it's performed so well. I could name a few songs that rise up a little higher than others on the record, but from beginning to end the wall of noise atmosphere barely lifts its pressure from the ears. And yet, instead of feeling punished, it's simple bliss that I'm left with.

9.
The New Division- The Rookie


For an EP to break into my top 10, it has to be pretty darn solid. Borrowing in fair amounts from synth-pop and the recent chillwave explosion, The New Division combines both styles and through their surprisingly strong songwriting craft, make their debut effort one to remember. Every song carves itself into my memory and it was easily one of the most addicting releases I spent time with all year.

8.
Fen- Epoch


Coming off the heels of their highly successful first record, The Malediction Fields, a record that was brimming with their own laudable brand of atmospheric black metal and post-rock, Fen had much to live up to in their second time around. I'll be the first to admit that my own expectations being as high as they were, Epoch was initially a disappointment. Even after 2 or 3 listens, nothing was sticking. The band opted to shed some of their black metal influences to showcase a sound that is closer to pure post-metal, albeit with harsh vocals. Perhaps that was the toughest hurdle to overcome but I did manage to, and know what? Epoch is pretty darn satisfying. It has more than a few highlights scattered about and the atmosphere Fen excel at is on display. It may take some extra effort, but Fen's continuing path is one worth wandering along.

7.
PJ Harvey- Let England Shake


Another release that really demanded patience out of me. A couple cuts jumped out at me right off the bat, e.g. "Let England Shake" and "The Glorious Land". The latter of those has brilliant usage of a Calvary horn charge right at the beginning. But it's not just the horn being there that I find affecting, but the fact that it almost comes off as deflated, juxtaposed against the melancholic tone of the music surrounding it. Yes, brilliant. Anyway, I needed to share more intimate moments with Ms. Harvey and it paid off in spades. The deep lyrics, the songwriting, the vocals, folk instruments like the mandolin...it all comes together beautifully. Let England Shake would be higher but it wasn't able to sustain my incredibly enthralled interest all throughout, about right after "England". But it does pick back up again toward the end. As with any of my picks for 2011, time will likely cause me to like it more, or maybe less. But I lean toward the former when thinking about where I'll stand with Let England Shake in the months to come.

6.
Deafheaven- Roads to Judah


I found out about Deafheaven fairly early in the year, and while initially impressed, the true value of Deafheaven blossomed when I realized how consistently pleased I was with repeated listens. While it's easy to write them off as showing too much in the way of Wolves in the Throne Room-isms, Deafheaven favor a more shoegazey sound and, quite frankly, Wolves in the Throne Room haven't blown me away since their debut. Also, they don't really sound terribly alike. Why I'm even bringing this up I'm not sure. Deafheaven deserve to be taken on their own. The ferocity and relentlessness of their performances is what stands out more than anything else with these guys. Rest assured, this energy translates live as well. These guys are legit. I just hope they're able to continue with this success.

5.
Washed Out- Within and Without


It only takes the opening seconds of "Eyes Be Closed" for me to realize what I've always known: Oh, how I love this man's music. Goosebumps, chills, tranquility, floating...all of these are characteristic reactions to Washed Out. Life of Leisure was an intoxicating rush of eargasms and a mainstay for me when I seek the essence of chillness. While not a perfect album, Within and Without is still Washed Out doing what he does best, conjuring those same feelings out of me. The production is a bit more crystalline and fuller, and while the lo-fi bedroom/hazy quality has gone away, the atmosphere remains the same. If Life of Leisure was a haze of chillness, Within and Without is a surge of chillness. If that doesn't make sense then, well, fuck you. Just listen to the album.

4.
Fleet Foxes- Helplessness Blues


Fleet Foxes return with their sophomore record and it sure does impress these little ears of mine. Compared to their debut, Helplessness Blues feels much more sprawling, a little more connecting, and exhibits a turn of maturation. I know these all sound like cliches to describe a second album from any band, but it's true. It shows these gents are out to prove they aren't one-trick ponies. Rest assured, Fleet Foxes still give off that we-write-music-while-chopping-wood-and-sit-around-our-cabin-while-smoking-pipes vibe going on, which is part of what I love about them. But also, the huge hooks that dominated their debut are actually still here, albeit in smaller doses. Because all of the songs are interlaced this time out, the highlights rise and fall, allowing the music to carry on naturally, without sounding like it's solely focused on standard structures. At least, that's how it felt to me. It's not an easy album to describe but it's extremely satisfying nonetheless.

3.
Ulcerate- The Destroyers of All


Two years ago, this band put out probably the death metal release of the year. So it's only fitting that their subsequent record not only matches it but arguably surpasses 'Everything is Fire'. They're basically a direct descendent to Gorguts, but is that really such a bad thing? I say no. The dizzying technicality of their style is still omnipresent, as is the oppressive atmosphere which they're able to inject into a genre that largely has none. I would also say that their complex arrangements and instrumentation only serve to enhance that chaotic atmosphere/"this world is fucked" feeling they emit. What's different this time around is the variety. They've added in a lot of atmospheric sludge to the mix, which works really well. The songs shift, causing the tempo to slow down for awhile to absorb the dissonance, before launching into heavy and fast sections again. Rest assured this is the most interesting and most gratifying death metal experience that I had all year.

2.
Cold Cave- Cherish the Light Years


Love Comes Close was a slice of 80's synth pop pie, with a touch of darkness, that kept me coming back. What's different this time out? Basically everything. The production is cleaner and shiny but it proves a perfect match for this mish-mash of New Order inspired electronic/new wave sounds which I am notoriously a sucker for. How is this different than the previous album then, you ask? One might say this is Love Comes Close but taken to the next level, and on steroids. Trust me, there's a stark difference. Not to mention every song has absurdly infectious melodies and moments. This is precisely what I want from a sophomore album after a very enjoyable and promising debut.

1.
Midnight Odyssey- Funerals From the Astral Sphere


It's not easy to stand out, let alone leave the listener awe-struck, especially when it comes to a saturated genre such as atmospheric black metal. But that is precisely what Midnight Odyssey has done. With only one man behind it all, it becomes even more impressive, and further proof that one person is all it takes anymore to produce some of the best music around, regardless of genre. It allows for a focus of vision and a cohesive consistency. Oh, and did I mention this album is a double hammer? Yes, it comes on two discs for a whopping two hours of music. And not on one song is there any semblance of faltering. Listen to this already. Favorite of 2011.

Summoning My Muse

When it comes to the enigmatic duo of Lisa Gerrard and Brendan Perry, there is no fucking around. They know how to cut straight to my emotional chords, even if those emotions aren't consistently what I'm hoping for. Since familiarizing myself with 'The Serpent's Egg' a few years ago, I've been in awe of Dead Can Dance and the monumental and otherworldly atmosphere their music holds. That which impressed me most on said album were works such as "The Host of Seraphim", "Severance", "In the Kingdom of the Blind, the One-Eyed are King", and most especially the masterstroke of "Ullyses". The latter enters into that personal realm where what I'm hearing causes me to transcend all around me, my music listening soul escapes into the cosmos, and dances and twirls with all of the other perfections floating around up there in the great beyond we call space. Yes, I really do love that song. Not to mention the unmatched resonance and power of the vocals which come from both Brendan and Lisa. They are truly in a class of their own.

But then, there are also times on 'The Serepent's Egg' that don't rub me the right way, or at least don't feel as effective. I speak of the world influences that creep into Dead Can Dance. Over time I have come to enjoy their context within the frame of the overall album, but I prefer the duo when they're in full on neo-classical darkwave mode. My love for bands like Dargaard and Die Verbannten Kinder Evas, who owe their existence to Dead Can Dance, are what caused me to delve into the progenitor of this unpopularized genre. And so, it is with this mindset that I jumped into another of their works, hoping that I might receive what I had hoped to hear slathered over the entire 'The Serpent's Egg'.



Enter 'Within the Realm of a Dying Sun', to which I'm becoming increasingly enamored with. From the first moments I laid my eyes on the artwork seen above, I knew that I wanted to love this album, cradle it in my arms, and set it on an even higher pedestal than 'The Serpent's Egg'. The good news is I didn't even have to try. It does all the work by itself. I find 'Within the Realm of a Dying Sun' to be much more consistent with its mood and, as I desired, darker. Much darker. How dark? The user Rivermyst on rateyourmusic sums it up better than I think anyone can hope to replicate:

"This is like sitting in the courtyard of a cathedral in Medieval England while the monks carry body bags filled with plague victims into a morgue to be burned.

And it's raining."

I've never quoted others while reviewing music, but what an immaculate description. That medieval vibe is precisely the kind of trait that I hope to get from this style of music. Dargaard have it as well, although not quite the same, and maybe not as majestic. The last two songs, "Persephone(The Gathering of Flowers)" and "Summoning of the Muse", fill in the stark yet accurate painting that Rivermyst conjurs for us. In fact, the artwork of the album cover reflects a bit of that image as well, with the hooded statue hanging on to the building, as if holding onto the last bit of hope he/she has left while watching the procession of death walk past them. Of course, there are other ways I see the figure as well, but in relation to the quote it fits fairly well in my opinion.

But, I fear I may have rambled too long...or maybe not enough? Either way, it's likely due to the fact that I struggle for words when hearing such beautiful sounds emitting from my speakers. Dead Can Dance, from what I can gather in the two aforementioned albums, have succeeded in creating music that is everlasting, ethereal, and a blueprint for all great music to come who dare emulate their style. And to think, I'm only three works deep into their discography.

Oh, and I know I just said 'three', despite only mentioning two. I gave 'Into the Labyrinth' a whirl...it did not please me. Therefore, 'Within the Realm of the Dying Sun' and ' The Serpent's Egg' alone are worth my breath here.

Nirvana Introduction Status: Complete

You'll never guess what I finally accomplished today. You know that tiny little band called Nirvana? Well, I finally decided that today I would properly introduce myself to their landmark release, 'Nevermind.' And you know what? It's pretty damn good.

Now you may be thinking, "What joke is this?" Well, I can assure you that this is no jest. Granted, I have (like everyone else who has listened to the radio at some point over the last 15 years) heard about half of 'Nevermind' via this artifact called FM radio, but that's as far as I cared to go. There was something about Nirvana that never quite floated my boat. Maybe it was Kurt Cobain's pained vocals, or just the grunge sound in general. Whatever the reasons were, I placed the band into the 'I'm Indifferent to Them' folder.

The cause of my sudden inquisitiveness was provoked by the slew reviews for 'Nevermind' I saw on Rate Your Music's home page last night. The back stories and reminiscences of the reviewers intrigued me. I couldn't help but imagine how I might have felt if I had been of the proper age in 1991, or simply any time during the 90's. Would the album have affected me? It's futile to imagine but curious no less. I can only speak for the present and I thought that it would be shortchanging my audiophile-ness if I couldn't at least tell someone that I have listened to it. I can safely say now that I'm glad I did.

My general impression of 'Nevermind' is akin to other times I've had when diving into a critically acclaimed piece of entertainment (be it film, music, theater, etc.) and realizing why others have found so much enjoyment out of it. 'Nevermind' is full of appealing material, be it the more abrasive numbers or the calmer spots that are on display. The balance and pacing are probably what I noticed more than anything else. Simply put, it's a well put together together record. But perhaps what's more startling for me is that the songs that I had already heard have lost none of their potency. Being able to experience them in proper place and sequence on 'Nevermind' actually made them sound better. Also, it undoubtedly assures me that they're songs that have an inexhaustible amount of spark to them.

If there's one word I can sum up this long overdue acquaintance with, it would be 'satisfied.'

Orange

So I only recently (about three months ago) was exposed to 'Music Has the Right to Children', the first proper full-length album from the legendary Scottish duo of Boards of Canada. However, my first introduction to them was 'Geogaddi' and that was no easy pill to swallow. It took many listens before I was able to solidify my opinion on what I now consider an exemplary piece of work in the electronic/ambient realm, despite it being less than perfect. Now that I've had a few exposed sessions of the aforementioned 'Music Has the Right to Children', I must express myself as slightly letdown compared to the excellence which pervaded my eardrums throughout the majority of the second album. It doesn't feel quite as consistent, and while there are a couple songs on the first half that impress me, it's not until "Rue the Whirl" and "Aquarius" roll around that I feel the album really comes into its own. My wish is that the entire album carried the infectiousness that those two songs possess, especially the latter, which has become my favorite song from them of late. Have a listen:



Nevertheless, the journey through their catalog shall press on and I can't wait to let my ears swim in my next two targets: Campfire Headphase and In A Beautiful Place Out in the Country (which I'm currently listening to actually).

Auburn Lull

Auburn Lull is a band from the States (Michigan, to be exact), but they could very well be mistaken for a British group. Why? Well, the UK is often known for its share of dream pop artists from the late 80s/early 90s (to which Auburn Lull certainly take a cue from in their style). This region is also known for its abundance of overcast skies, and such weather is bound to cast a shroud of melancholy on the individuals who dwell there. These characteristics manifest themselves in the music Auburn Lull creates. It's a delicate blend of ambient and dream pop that should send even the most cynical minds soaring into the clouds.

My first encounter with the band came with their 2008 release, Begin Civil Twilight. It was only the third album of the band's career, a career that debuted with the 1999 debut, Along I Admire. Their second album, 2004's Cast From the Platform, is the only one left for me to hear. They have a sound that can be compared to the likes of Slowdive at their dreamiest and laid back. In fact, I'm willing to bet that if you love Slowdive then you'll fall just as hard for Auburn Lull.

Going back to the two albums I have had the pleasure to spend time with, I can assuredly say that I'm a big admirer. I'm only just scratching the surface with Alone I Admire, but it appears to be more solid from beginning to end. Begin Civil Twilight carries some slight inconsistencies in songwriting, even if the atmosphere remains dense throughout. A song that I seriously insist you check out from said album though is this one:



Even though I said I have less experience with Alone I Admire, I've already picked up on some achingly tremendous songs, one showcasing their dream pop side, and the other exemplifying the ambient aspect of their sound:





If you like what you've heard, don't hesitate to check out the full length albums.

Deerhunter: Observation No. Two

(picture above courtesy of Stereogum)

Who: Deerhunter/Dunes/David Scott Stone
Where: The Wiltern
When: August 9th, 2011

Another year, another joyous opportunity to see one of my favorite bands play, Deerhunter. Going in, there were two big differences between this appearance of the gentlemen four and that of last year. In early 2010, the great Halcyon Digest had not yet been released. Also, instead of an intimate setting via the Glass House, I was presented with the very spacious venue of The Wiltern. One of the two proved to be a welcome change. The other...maybe not so much. You see, I personally have no problem with The Wiltern. I've seen some extremely high quality gigs in this place before, not to mention two of the best Opeth shows I've yet to see (I've seen five altogether). However, after witnessing Deerhunter's performance Tuesday evening, it's become clear to me that some bands sound better here than others. Fortunately, it was nothing so major as to topple my positive remembrance of the night, but enough to cause some grumblings.

First blood was drawn by an electronic duo (whose identity was unknown to me at the time), led by David Scott Stone. I learned that he was part of LCD Soundsystem during live shows. Not bad. The music was quite interesting because of how it was one continuous song that lasted for at least 25 minutes I'd say, possibly longer. David was working a massive sound board/device with wires being rearranged and plugged in throughout the performance, while his female partner manned a synthesizer. It was very danceable music and certainly held my attention. Kind of a strange addition to the bill, but a welcome one.

Next up was the band Dunes. They seemed to fit in the shoegaze/dream pop niche and they did a pretty good job of it. It was my first time hearing them and though the set started off a little slow, the last 2 or 3 songs were the best. Also, I'm not sure if it was just me but the guitars were not as prominent as they should have been. Out of all the instruments, guitars MUST be loud. I want to hear the riffs, the melodies, the fuzz, etc. Although at the time I couldn't have guessed, it foreshadowed (slightly) the issues that would plague the headliners themselves.

Deerhunter dived into their set with the expected "Earthquake". This is one of my favorites off of Halcyon Digest and this was a fine rendition. That beautiful guitar crescendo that appears and then fades back to the simple acoustic plucks, backed by the drum-beat-in-reverse and Cox's hazy vocals...a perfect opening. The muzaks from Deerhunter kept on coming for a good hour and a half. Of course, a good chunk was played from the recent album, such as "Don't Cry", "Revival", "Desire Lines" and the incredible show closer "He Would Have Laughed", although the absence of "Helicopter" was tragic to be sure. There were also a ton of older songs (including songs I'm not familiar with from the first two albums), and even a hefty encore of cover songs. It's great when a band decides not to limit themselves to just newer material. They have to know that for every new fan in the audience, there's a fan dying to her older stuff too. They certainly didn't disappoint on that side of things. Other standouts for me were "Nothing Ever Happened", "Little Kids", and the beautiful "Agoraphobia". Not to mention all of the extended versions for some of their songs were so intense and heightened the suspense of feeling that release. Fantastic! So far, it must appear that everything went along swimmingly, right? Unfortunately...

As I alluded to earlier, either someone did a poor job of setting up the guitar volume that night, since a good chunk of their material (i.e. the riffs not being very pronounced) didn't hit me as I felt it should have, or perhaps The Wiltern is too large a place and has way too shoddy acoustics to do justice to bands that are heavy on noise and distortion with their guitar work. There was certainly nothing amiss with the rest of the instruments, or vocals. But then, when I witnessed Opeth play their two hour show last year, there weren't any problems that I remember. Anyway, the point being that largely my reason for ultimately favoring my first experience with Deerhunter at the Glass House is for said guitar malfunctions.

Sound shortcomings aside, it's a testament to the great band that Deerhunter is that I was able to push the problems out of the picture and really just have a great time. There were quite a few moments which blew me away and will forever be stored up in this memory of mine. To this I say, bless you, Deerhunter! I will gladly watch you perform again. But maybe pick a smaller venue next time, eh?

Devin Townsend/Other Bands

Children of Bodom/Devin Townsend Project/Obscura/Septic Flesh
June 24th, 2011
House of Blues, Hollywood



So, I went to my first metal show of the year this past Friday. Hard to believe that it took so long but it's not as if the months between weren't filled with the goods. I actually see this gap as a testament to how my tastes have broadened and evolved. I also see it as me taking advantage of what's free. After all, what's not to love about that?

The last time I was at the House of Blues was to see Tarja way back in 2009 I believe. I can't say I missed the venue. It's solid but not anything special enough for me to consider it a favorite place to see a show. But the venue has the potential to take second fiddle as long as the bands deliver. Septic Flesh turned out to be the first of the opening acts, which I was rather upset by. Along with Devin Townsend, they were one of my reasons I wanted to come to this event to begin with. Not only did this mean that their set would be uber short, but it also meant that I'd have to get there early. P.S. This didn't happen. By the time I got through the long line (which they decided to take in as slowly as possible), Septic Flesh had already burned through their songs and I managed to catch only their last two. I saw them live once before and they converted me on the spot. Since then they've remained one of the few death metal bands I care about. Needless to say, a major disappointment having to miss them.

Next up was Obscura. I have a mild interest in them and was curious to see how they'd sound in a live setting. Their technical brand of death metal translated quite well and was executed pitch perfect from what I could tell. It's not the type of metal that I can enjoy all the time, but their performance did reassure my enthusiasm for them.

My excitement was peaked with getting to see Devin Townsend and his cronies (aka Devin Townsend Project). Although the overall set could not be matched by his headlining show last year at The Key Club, Devin made the most of his time and proved to me once more that he's one of the best live performers/front men around. His off-beat humor, his commanding stage presence, and of course his pummeling brand of metal all make up his arsenal of cool. He began the set by stating that "we are the oddballs of the night". That really couldn't have been more complimentary. He was absolutely the highlight of the evening. His vocals really are as amazing live as they are on record, a feat that is always admired by yours truly. I really don't have much to add that isn't more layers of praise. My respect and appreciation of Devin Townsend and his music is in the utmost tier of greatness, and I can honestly say that I'll go to every venue he decides to play in southern California. I suggest you do the same.

The headliners, Children of Bodom, would have been had me giddy with glee about five years ago. They remained a favorite of mine for many years and were partly responsible for my path into the realm of metal. But through a combination of wavering taste and the steady decline of the quality in their music, I stepped off their train. Perhaps it's their somewhat immature attitude too (with Alexi Laiho feeling the need to say "fuck" every five words). He also comes off as a bit too haughty for me. He's a good guitarist but not great. A little modesty never hurt anyone. But for all of this fallout business, I still watched a good chunk of their set. It was quite nostalgic to hear some of their older material played. Even the song "Children of Bodom" from Hatebreeder was in their set. But again, due to the passage of time, my enjoyment of the band is simply not there. They are not bad live, at all, just not my forte.

As an aside, I would like to say that Children of Bodom has some of the most annoying fans I've ever been around. It didn't help that there were quite a lot of 15-17 year old fans in attendance. I heard way too many "OMG I'm horny" shouts than I'd ever wish to hear in one night. This happened whenever the House of Blues would advertise upcoming shows on a big screen between bands. A lot of "I lost my boner" comments too. I can't help but long for 18+ shows in the future.

Also, a complaint about the House of Blues: There's absolutely no signal inside. This means that calling, texting, updating Facebook, etc., is out of the question. This bothers me because I like to post pictures I take during the actual show. Maybe it is a minor complaint but what if you need to get a hold of the person(s) you're with? Perhaps you lose them in the crowd? What then, House of Blues, hm? I digress.

Until next time...

Townsend: "Are you ready, hippies?"

Ulcerate- Everything Is Fire

Artist: Ulcerate
Album: Everything Is Fire
Genre: Death Metal
Year: 2009

Ulcerate. Back at the end of 2009, this second release of theirs was getting a good amount of underground buzz about the way it turns contemporary death metal on its head, not to mention its inclusion on many best of 2009 lists. I'll admit to that the artwork was intriguing enough for me, and to hear about a band actually making death metal interesting again peeked my curiosity. Death metal was an exciting genre at first, but slowly but surely, either by the staleness of the sound or because I wasn't spending my time in the right places, it was starting to become a minimal presence in my music library, at best. So, I was anxious to see if Ulcerate were up to the task of rekindling that death metal flame.

Since that time, my experience with Everything is Fire has been a roller-coaster of a journey. Straightaway, I noticed that this band sounds much different than the vast majority of garden variety death metal that exists today. It's a palpable difference, and yet it's not. A lot of this has to do with the tone they present. It's got a "holy shit, this world is fucked" vibe going on, which is what death metal should evoke, at least partly.

Ulcerate is also technical. Very technical. There's so much going on within each song, that it feels like if you stray for even 5 or 10 seconds, you feel like you've missed a lot. In fact, you feel tempted to just restart the song so that you can fully soak in, or at least try to, all of the riffs being thrown and tossed around your ears. Believe me, they fly around on a near constant basis, like bees around those bushes in spring. Your ears get as much of a work out listening as the musicians clearly get with playing. So far, I've had a difficult time deciding if this challenge is something I'm fond of, or if it's plain annoying. But I think it all comes down to what mood I'm in.

As I touched on already, a big plus with this album is its atmosphere. It's absolutely crushing and uncompromisingly bleak. In fact, the title is appropriate, considering that this band could easily be the soundtrack to watching the world be consumed by flames. The band delivers with a ferocity that you simply don't get from a lot of death metal these days. I feel the production is a big credit to this success. It doesn't have that processed, triggered feeling that is so prevalent these days. The sound of Ulcerate feels natural and human. This is an attribute that I'd love to become a more prominent aspect in not just death metal, but metal in general. Not every metal band warrants this "human" feel, since it would depend on what the band is trying to accomplish with their music to begin with. Nevertheless, it needs to be played up on more. But I digress.

When all is said and done, Everything is Fire can either be one of the best death metal experiences you can have, or the most frustrating. Ulcerate (and I) both dare you to find out. I personally can't wait to dig into their newest album, Destroyers of All, as soon as I can.

Blut Aus Nord- Memoria Vetusta II: Dialogue With the Stars

Artist: Blut Aus Nord
Album: Memoria Vetusta II: Dialogue With the Stars
Genre: Black Metal
Year: 2009

The best release from the band that I've heard, and I've heard them all (except for Memoria Vetusta I and Odinist). This is pretty far removed from the industrial infused sound that I've normally associated with Blut Aus Nord's style, and I have to say I enjoy this a lot more. There are guitar leads that are out of this world scattered all over the album, and they really are one of the shining characteristics MVII has going for it. But there's also the occasional and complementary acoustic sections that nicely break up the audible whirlwind of metal this guy performs, allowing the listener to catch their breath. The riffing too, which has that undeniable Blut Aus Nord tone, is varied, more melodic, and delightful. It's the equivalent of eating my favorite dessert, but with my ears. I don't really care if that makes zero sense.

Lastly, I have to mention the extremely appropriate use of synths. It's not always present, but when they are it's used to accentuate the already grandiose nature of the guitar melodies/riffs. There are times when it even becomes the focal moment in the song, if only briefly. Prominent examples of this can be found in "The Formless Sphere (Beyond Reason" and "Antithesis of the Flesh (...and Then Arises a New Essence)", especially in the latter, where I could listen to that choir-synth part on repeat for eternity.

All in all, Memoria Vetusta II: Dialogue with the Stars is one of the strongest black metal releases of the last decade, easily. Not only is it a strong album in terms of its textured song structures, its deep replay value, and its originality, but it's also a great place to start if you've yet to take the plunge into Blut Aus Nord's fascinating world.

Nucleus Torn- Andromeda Awaiting

Artist: Nucleus Torn
Album: Andromeda Awaiting
Genre: Avantgarde neo-folk w/ classical influences(?)
Year: 2010

First off...I'm back! It's a strange business, writing reviews. I tell myself all the time, especially lately, that I need to plan out times where I just write and write, and yet time and time again I've proved to myself that whenever I do write reviews, or anything like them, it's a spontaneous occurrence. This is exactly the case with this particular review. It just goes to show that inspiration is fleeting. Utilize it while you can!

Anyway, this album is the last of a trilogy of albums for Nucleus Torn. They're quite unknown though I've been following them for a few years now and am familiar with their two full lengths. Musically, Andromeda Awaiting continues in a similar vein as its predecessors: progressive/avant-garde music that incorporates neo-folk, classical, even medieval, touches. As far as originality goes, this band has got it down. They have a sound all their own, calling to mind the voice and music of time traveling bards that channel different styles at various points. One thing I noticed immediately is that Andromeda Awaiting is a lot less intense than Knell and Nihil, and drops the metal elements completely that were once present. I actually think this was a smart move and it not only feels natural for the band's progression, but it would have potentially made this album a little too familiar. If Nihil was the start of something stirring, Knell presented the band at their darkest and most dramatic, while Andromeda Awaiting appears to give resolution to a musical and lyrical story by way of its gentler style.

As far as the structure goes, it keeps Knell's formula of using Roman numerals instead of song titles. The album is also book-ended by two epic 15 minutes tracks, and in between there are a couple shorter songs, as well as a couple interlude-type tracks for good measure. They all help to make the album flow together and sound very tight and cohesive as a whole. You wouldn't want to listen to individual tracks, or at least you wouldn't get the same effect of completeness that way. This has always been a strength for the band.

It's really tough for me to find specific flaws, and yet they are there. I guess the real issue for me lies in the fact that so far, in my first handful of listens, the material isn't quite affecting me as emotionally as Knell did, or even Nihil did, which wasn't as strong as Knell in my opinion but had moments of sublimity to anchor it. I'll even say there are times when songs go on a little too long, i.e. in the last 2 minutes or so of the first song. There's one particular flute melody played which is otherworldly in its beauty, but it's ruined with those last two minutes which aren't engaging at all for me. Also, IV might be the weakest song on the album. It ejects me from the great medieval vibe of the rest of the material.

That being said, I think there is strong material here, even if it's not readily accessible for the taking. It's likely that this music will continue to unveil more of its beautiful layers to me the more I keep with it. For all of Nucleus Torn's shortcomings, they have this sophisticated aura about them that I find irresistibly charming, and keeps me coming back. They're not for everyone, but I think if you give them a chance and get hooked, you'll be extremely gratified.

Benn Jordan- Pale Blue Dot

Artist: Benn Jordan
Album: Pale Blue Dot
Genre: Ambient
Year: 2008

Very spacey ambient influenced by the work of Carl Sagan, the famous astronomer and astrophysicist. You may have noticed that I some times pay a lot of attention to an album cover because it can often set up a good visual for what you may be imagining as you listen to the music within. The same can be said about 'Pale Blue Dot'. Nebula pictures in particular have always fascinated me, probably more so than any other type of photograph of any kind, be it on earth or in space. The amount of beauty in them is astonishing, as they propel the imagination to realms of thought that we'll never be able to comprehend in our lifetime. In essence, the music by Benn Jordan is very close to that same sentiment. The blissful and tranquil movement of the sounds that run throughout the album put me in a dream-like state, where my mind takes me up close to places that can only be seen in photographs such as the one that graces this album. It's not without its faults sadly as all but three of the first nine tracks on the album I've discarded since they just don't strike a chord with me or keep the celestial beauty found within the majority of the album that I do enjoy. But fortunately this album's strengths and high points far outweigh its shortcomings. Just this week I've listened to it three or four times right around the time I'm preparing for bed and not only does it calm me but it fills my mind with pleasant thoughts and images. So I heartily recommend checking out this very professional and loving tribute to the late Carl Sagan and the inspiration he instilled in millions of stargazers to come like me. Even if you're not an ambient fan, I find it hard to believe you won't like it on some level.

Favorite Music of 2010

EDIT: Made on 1/21/11

First, some honorable mentions that are not that great, but still worth a listen. All of them yield some goods songs but overall they were lacking substance and memorability:
Salem- King Night
The Art Museums- Rough Frame
Nachtmystium- Addicts: Black Meddle Pt.2

Next, here are albums I heard once or maybe twice but still have no idea what to rate them, though I am intrigued enough to them try again. Perhaps you should check them out too?
An Autumn for Crippled Children- Lost
I Shalt Become- Poison
She & Him- Volume Two
Sigh- Scenes from Hell
1349- Demonoir
Negură Bunget- Vîrstele pămîntului
LCD Soundsystem- This Is Happening

Lastly, we've got the shoddy releases that I was exposed to that either disappointed and/or failed to impress me whatsoever:
Imperium Dekadenz - Procella Vadens
Dimmu Borgir- Abrahadabra
Burzum- Belus
Dark Tranquillity- We Are the Void
Eluveitie- Everything Remains (As It Never Was)

And with those out of the way, here's the list.

21. MGMT- Congratulations


20. Delorean- Subiza


19. oOoOO- oOoOO (EP)


18. Caribou- Swim


17. Clair Cassis- Clair Cassis


This band came out of nowhere. I had no idea that Velvet Cacoon had even split up but this pretty much just picks up the pieces under a different moniker. The fuzz is still here. The atmosphere is still hazy. Images of a dark ocean in the wee hours of morning or a late late evening grace the artwork and it's an accurate imagining of the music for me. The nautical influence was apparent in Velvet Cacoon and it's just as apparent here. Not the best thing released by this duo but still satisfying.

16. The Knife- Tomorrow, in a Year


I'll keep this nice and simple. The first disc, the "electro-opera" Darwin inspired music, is extremely experimental and quite frankly very uninteresting to me. It's worth a listen to see what you think but it doesn't draw me back in personally. The second disc though is filled with pretty great material. Some of the songs rank up with The Knife's best material, chief among them "Colouring of Pigeons" which is one of the year's best songs beyond a doubt. I hesitate to recommend a purchase since it is a double album and costs a bit more. It might be better to just download the second disc and save yourself some money.

15. Best Coast- Crazy For You


If ever the need for the perfect summer soundtrack was called upon, Best Coast appear to have accomplished that task in spades. Catchy, beachy, lo-fi, uptempo, and all in the context of a girl who's very very into some guy. No, seriously, he's the topic (assuming it's the same person throughout) on every single song. You might think that could get annoying, and it probably will irk some, but it doesn't bother me. The songwriting more than makes up for it anyway. All of the songs can tend to sound the same but that's also the mass appeal since they're all consistently good. Not a bad egg to be found. "Boyfriend" and "Crazy for You" are the two mandatory tracks on here though. One word review: Fun.

14. School of Seven Bells- Disconnect from Desire


Initially I was a little disappointed by this. 'Alpinisms' I was/am still very fond of for its interesting mixture of genres and the wonderful vocal work and harmonies. This carries along in more or less the same manner but seems heavier on some of the electro influence and is also a bit more in line with dream pop/shoegaze from the 90s, which is a very good thing. The band also does sound maybe slightly more streamlined this time around and that serves to make the songs a bit more direct. The material still has plenty of hooks to grab you even if not all the songs are great. But overall this is a strong sophomore effort and fans of their first album should definitely pick this one up. I think they'll also attract a lot of new fans as well so if you haven't heard them this is not a bad place to start at all.

13. Twin Sister- Color Your Life


Twin Sister is one of my favorite finds this year. An indie pop band that writes great songs and features a singer with a really interesting voice. I'm not sure I know of anyone to compare her too. It's a little bit in a lower register and slightly deeper. Maybe a bit nasally? I'm so bad with describing sometimes. The songs are catchy though and have this alluring/charm factor that keeps me coming back for more. Some of their music is actually available for free (the legal kind of free) so definitely check them out.

12. Fear Factory- Mechanize


The hardest hitting and most brutal Fear Factory album since the one and only 'Demanufacture'. Pretty solid songwriting all around and absolutely no fucking around on this one. Probably the one flaw is that while all the songs are good there isn't much memorable material on board but then again the pure aggression should satisfy your fix for something heavy. And if you're like me and you love the aforementioned classic 90's album then you should dig this just fine.

11. Negură Bunget- Măiestrit


So this is a remake of an older album done by the classic lineup responsible for 'Om' and at least half of it is spectacular. The other half (the first batch of songs actually) I was having trouble enjoying fully but the last listen with this album proved to be extremely successful and I think it finally "clicked". This success caused me to drive up my previous score and while I don't find it as good as 'Om' or ''N crugu Bradului' it is better than the disappointing 'Vîrstele pămîntului', which was the new album put forth by the almost entirely new line-up. So if you found that one lacking I'd recommend picking this one up for your fix.

10. Phantogram- Eyelid Movies


A really solid output of trip-hop with an indie rock flavor. Most of the songs are very good but sometimes (and this could just be my mood) there is a dip into mediocre-ville. I really like the vocal work by both Joshua and Sarah, but mostly Sarah who's voice has a kind of sultry and hypnotic quality to it, especially on "As Far as I Can See" where I can't help but believe and sympathize with every word she says. Joshua sounds almost soulful on "You Are the Ocean" and the effects he uses on "Running from the Cops", along with that infectious groove that's repeated all throughout the song, result in one of my favorites on the album. Best of all, Phantogram's music comes off as fresh and has an energy infused within that will help carry me into many repeated listens.

9. Local Natives- Gorilla Manor


Thanks to FYF I was fortunate enough to become acquainted with this excitingly fresh sounding band. They didn't sound like anyone else I heard that day and the same can mostly be said about 'Gorilla Manor'. "Fresh" is the keyword for the band as they sound like they're genuinely having a great time making music. The chemistry between the members is apparent in the smooth vocal harmonies scattered all over the place and the songwriting is consistent and strong from start to finish. "Sun Hands" is an obvious single and a standout track, but I'm also keen on the opening track "Wide Eyes" as well as "Airplanes". I really have to stress the quality of this album. I also see this band having a wide appeal because talent like this is just too good to be ignored.

8. Enslaved- Axioma Ethica Odini


Black metal and Pink Floyd's lovechild has return with an album that has a lot more heft than you've become used to based on the past couple releases. It's actually closer to their 'Below the Lights' record in terms of production and the aggression apparent through, and the songs are all super strong. They've matured yet again but have also kept that core Enslaved sound in tact. I've actually only given this one a couple spins so far but I knew pretty quickly that this was a winner. Like the Agalloch album my opinion has the potential to grow tremendously with this one.

7. Lantlôs- .neon


When I learned that Neige would be joining the band I have to admit I was slightly worried. I love Neige but I was afraid of being overexposed to his style and vocals, not to mention Lantlôs already had such a distinct sound on their debut self-titled album. But my worries were quickly laid to rest after spending some quality time with '.neon'. Lantlôs still sounds like Lantlôs and Neige (oh wow) sounds incredible. I'm not sure what was lacking for him on the Amesoeurs album but he sounds like he's back to his old self again, maybe even better than before. Lantlôs have incoporated more of a post-rock vibe this time but don't sound like any of the other black metal bands that are influenced by post-rock. Again, they've carved out a niche style for themselves. A must for fans of (post)black metal.

6. Deerhunter- Halcyon Digest


Despite the rather off-putting cover, Bradford Cox and company have struck gold once again. Coming off the immaculate Microcastle/Weird Era Cont. double album a mere two years ago, there was a certain amount of pressure for Deerhunter to match that success. It turns out that the best way to do so is by stripping down your sound more to help not only create focus but a well laid out dish of tasty songs to sink our teeth into. It starts off strong with "Earthquake" (my personal favorite on the album) and continues along a path of finely crafted songs that both reflect sounds from rock's past but also give said sounds a modern face lift, all the while allowing the band to retain an identity. And that's no easy feat, my friends.

5. Agalloch- Marrow of the Spirit


Okay, so here's the deal, because I know you're thinking "Brandon! How is this NOT your number one?!?1!!11! No question that this is a really good album. Agalloch couldn't make anything less than good if they tried. But thus far this hasn't hit me like their past works have, at least not yet. And I emphasize "not yet". I'm almost certain my rating will increase but I can't pretend to love this if I don't yet love it. Other than this important note, I have to say I fully embrace the black metal elements showing up since they have been kind of dormant on previous albums, though always just below the surface, since it does bring a nice sense of evolution for the band and definitely adds some freshness to their sound. The aggression in particular has been upped considerably because of said styles being used. I think in the end it's going to be a grower like everything else I've come to know from the band and as of now it's still a top 5 entry. Not bad at all.

4. Beach House- Teen Dream


I seriously love this band if you didn't already know. 'Devotion' was my first foray into their music and even though that in itself was enough for me proclaim my undying love, 'Teen Dream' simply solidifies that pledge. The thing that really stands out about Beach House is their knack for writing melancholy dreamy pop songs that not only strike an emotional chord but carve out songs that will stick with you. It's fairly simplistic songwriting at its heart but in the best kind of way. 'Teen Dream' might even be their most consistent and best overall. I honestly can't decide between the two albums. Nevertheless, this is one of my absolute favorites this year. Pick it up at all costs.

3. Les Discrets- Septembre et ses dernières pensées

From the moment I saw the artwork my heart grew all fluttery with hopes that it would sound just as amazing. Good news...it does! Atmospheric metal is about the only term that really applies to this band. There's a ton of post-rock influence but it doesn't come off sounding like all the other metal bands that flirt with that style. If anything it's closer to Alcest but not a copycat. The vocals are all clean and Fursy has a spectacular sounding voice, so smooth. I thought I'd have more to say about this but what can I say...I'm speechless. Definitely one of my top favorites of the year.

2. Crystal Castles- Crystal Castles II


I am super impressed with this second album from Crystal Castles. I fell in love with their debut rather quickly and still hold it extremely high on my favorite albums in recent memory. When I heard about a follow-up I was very excited. I can safely say it lives up to practically any expectations I could have had before its release. On the whole it comes really close to being almost as good as the first album and songs like "Year of Silence", "Suffocation", "Pap Smear" and "Celestica" make me infinitely happy. CC have trounced the dreaded "sophomore slump" and appear to currently have momentum on their side. With material like what's presented here they will keep pleasing me for a long time to come.

1. Alcest- Écailles de lune


Not the sheer masterpiece that was Alcest's debut from a few years back but this still is a striking and bold new direction for the band that doesn't try to repeat a formula thankfully. It sounds fresh and incorporates more of the band's old black metal influence, and sounds dreamier than ever before. The title track (broken up into two parts) is stunning to say the least and probably worth the purchase of the album on its own. But the rest of the songs are damn good too in their shoegaze/metal/post-rock glory. A must have for people interested in music that's taking chances and succeeding with flying colors.

Agalloch's Glorious Return

Yes, the wait is finally coming to an end, my friends. Well, that is if you're one of the people that hasn't already downloaded the leaked copy of 'Marrow of the Spirit' by now. Four years is a long time to be patient for new material so I suppose I can't blame those of you who have. But anyway the physical real life version of Agalloch's fourth full-length release is November 23rd, which is only seven away for those of you who like math! Chances are you've been tempted to give in and just download the album already but it appears your patience has paid off. NPR is currently streaming the entire album on their website up until its official release. Now, don't you feel glad you waited a bit longer? I'm currently listening to it as we speak. It's a dense and stunning piece of work to take in as the final minutes wind down. I can hardly wait to spend even more time with this in the coming months since Agalloch albums always get better and better the more you hear them...but enough rambling. Enjoy, folks!

http://www.npr.org/2010/11/09/131192147/first-listen-agalloch-marrow-of-the-spirit

The Pains of Being Pure at Heart- s/t

Band: The Pains of Being Pure at Heart
Album: Self-titled
Year: 2009
Genre: Indie/Noise Pop/Shoegaze

Here's a band that may have flown under your radar last year. Pains is one of those indie bands that are reintroducing a nostalgic type sound, in this case it's the late 80s/early 90s sound of bands like The Jesus and Mary Chain and My Bloody Valentine, and channeling it into the modern age. What we get is a surprisingly refreshing and energetic rendition of the noise pop/shoegaze bands of yore, but with a "poppier" bent. This is not a bad thing. The songwriting in this band is simple but genuinely charming and perfect for singing along to. As soon as I heard it I instantly new I'd found a standout from the crowd. I'm seriously not kidding about their songwriting either. Every single song on the album could potentially be their single. So if you're into the kind of music that I've described and are looking for a happy record to spin when the mood strikes you then don't miss out on this one again.

Colosseum- Chapter 1: Delirium

Band: Colosseum
Album: Chapter 1: Delirium
Year: 2007
Genre: Funeral Doom Metal

Although this deserves more said about it than I'm going to give, I'm feeling brief today. This is the debut album from Colosseum, a Finnish doom metal band, more specifically playing in the funeral doom style, and atmosphere is their forte. The blue and black colors reflected in the artwork perfectly display the kind of mood that is prevalent throughout the album. It's melancholy, apocalyptic, and personally I imagine a solitary path through a dank forest with a steady rain pouring down through a canopy that's layered in fog, which pervades and entwines between the trunks of the trees, the colors around you being exactly like that of the artwork, giving the impression of being in a dream. Of course being a funeral doom metal album it is full of skull-crushing riffs that are heavier than lead, guttural growls that don't sound like they're coming from a human, and on top of it all there is the magical and enraptured sprinkling of synth-work which really pulls all the elements together to give you the aforementioned atmosphere I described, coming across in an almost symphonic dirge at times. In short, if you are a doom metal fan you can not go wrong in checking these guys out. They have since released a second album and a TBA third album (which has no current release date).

On a sad note, the lead singer of the band, Juhani Palomäki, died in May of 2010 and that's an extremely heavy blow as he had a very recognizable and distinct voice in my opinion and it's sad that he will not be around to continue making great music. May your soul rest in peace, brother.

Crystal Castles & Robert Smith – “I’m Not In Love”

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If you're a Crystal Castles fan, or a Robert Smith fan, or a Cure fan, chances are you've probably never imagined an actual pairing between them. I know it never crossed my mind. So imagine my surprise when I learned that the Crystal Castles song "Not in Love" from their 2010 album was remixed to include the one and only Robert Smith performing the vocals. Wait, seriously? Yes, seriously. And by the maker, it's probably the most endearing combination I've heard since...since...I have no idea. It's up there though, I think it's that good. So do give your ears some love and download (or just stream it if somehow you're not already salivating at the mouth) the song, which comes via the good folks at Stereogum.

Oh, and here's the original song for reference.

A Sunny Day in Glasgow

Artist: A Sunny Day in Glasgow
Album: Ashes Grammar
Release Date: 2009
Genre: Dream Pop/Ambient/Shoegaze

With as much music as I tend to listen to these days it's rare that a single artist not only stands out to me and causes many repeated listens, but drives me toward addiction, elates my soul and accordingly launches themselves to the top of my current favorite artists so quickly. It happened earlier this year after being introduced to the wonderful St.Vincent, and now I feel that the process has begun anew with my new favorite Dream Pop/Shoegaze outfit hailing from...you guessed it, Philadephia (you were thinking Glasgow, weren't you?).

What causes this band to stand out for me is, like any great band, a combination of cohesive elements. First and foremost there are the vocals. Light, airy, dreamy (naturally), and harmonious, they drive the majority of the melodies on the album, sometimes without even needing to utilize lyrics, such as the "ah ah" moment in the song "Shy." Jen Goma and Annie Fredrickson are the two women behind the mic if you're wondering. While they definitely take vocal cues from dream pop bands of yore, they're in no way copycats. They simply use that inspiration and make it their own. It's both nostalgic and refreshing. In addition to said vocals, there's of course the instrumentalists who bring a wide array of sounds to the table. Although the band does use guitar in many songs, it's not the instrument that's solely responsible for creating the soundscape. When it does take the lead, such as in "The White Witch", it can be very uplifting. Or sometimes the guitars become full of fuzzy distortion that calls to mind the classic shoegaze of My Bloody Valentine. But more often in this album you have the keyboards and electronic sounds dominating. I think this attribute also plays a large role in causing the album to sound very modern and work as successfully as it does.

But above it all, it's the songwriting that makes this record pure gold in this listener's opinion. There are hooks everywhere, atmosphere aplenty, and a good amount of depth that will keep you coming back for more. The album also flows extremely well, each song bleeding into the next, making for a satisfying experience. So if you're a fan of this genre or even if you're not and have been itching to find something new and different in a music world saturated with the mundane, I heartily suggest you give this album a try.

Recommended songs: "Shy", "Nitetime Rainbows", "Passionate Introverts (Dinosaurs)", "Close Chorus", "The White Witch"

http://www.myspace.com/sunnydayinglasgow

Boris

August 28th, The Glass House, Pomona



Boris has been one of the quickest bands to rise in my personal listening rotation since finally getting into them a couple years ago. I was aware of their existence for some time but it wasn't until I picked up Pink that I understood just why they are so revered by fans all across the musical spectrum. Pink's carefully blended mixture of styles won me over from the first calm and droning moments of "Farewell" to the feedback laden outro of "Just Abondoned My-Self". I've also acquired Smile and enjoy it nearly as much, so it was with great anticipation that I journeyed to Pomona to see them in a live setting.

The Glass House has been home to some of my favorite shows in recent memory and I saw no reason why that trend couldn't continue here. Being right on top of the stage for them was a must. The spot was secured due to the early arrival and it was then time for the opening bands to do their business. First up was Helms Alee. Not the worst band in the world. The mixture of sludge, stoner doom and post-rock was interesting enough but the songwriting was too all over the place for me. Thankfully the drummer was very talented and became the highlight of the band's set and was a joy to watch tear across her kit. Next up came Red Sparowes, a band that I had already spent some time with in the past. The album I heard was rather forgettable and average post-rock with elements of metal thrown in. Still, it's not often I see post-rock live so maybe they would sound better here. To my dismay, they never really took off anywhere and just kind of played and didn't excite me or anyone in my party. No matter as Boris were set to erase any memory of the previous two acts.

One of the things that caught my eye as they were setting the stage for Boris was the enormous gong positioned behind the drummer. After checking out multiple pictures from past Boris shows online, I can confirm that it has been there many times before. The band took the stage along with one extra live member on guitar, but he sadly seemed less involved physically because of where he was on the stage, although his sound contribution was no less vital I'm sure. The first song was the infamous opener on Pink, "Farewell". The amount of sound this band puts out is enormous. The guitars were beautiful, whether lightly strumming notes at the beginning or playing the long sustained heavy notes during the rest of the song. An extremely positive start to the night. The band didn't really talk between songs being Japanese and all. But that didn't matter. The goods kept on coming, despite only being familiar with about 1/4 of their material that was played. More delight was had when some of my other favorite songs were played, namely the title track from Pink, "Statement", and "Untitled" from Smile. The set was also balanced quite well too. When the fast material needed to happen, it happened. And the slower numbers were placed in just the right spots when a slight breather was needed. "Untitled" was the closing song and one of the best possible choices I think, and it was definitely one of my personal highlights from the night. And yes, the gong was hit multiple times by the drummer at the end of the song upon repeated request from the crowd. Who doesn't love the epicness of the gong? Afterward I walked away knowing I had just experienced one of the best concerts I've ever been to. And I think I can break it down into four distinct reasons. The first one is that the band was just damn fun to see and hear. The second is that the songs I did know were executed brilliantly live. The third being that I am now interested in checking out their other albums even more so than before, given the delicious sampler of their material on display. And the fourth and final reason is that they have given me every reason to want to go and see them again next time. Come back soon, Boris!

Official Website: http://homepage1.nifty.com/boris/
Band's Myspace: http://www.myspace.com/borisdronevil

Au Revoir Simone

July 8th, The Echoplex, Los Angeles



There's nothing quite like the anticipation of going to another show, especially when it's been more than a couple months since last I went to one. This time it was the charming ladies of Au Revoir Simone. The place: The Echoplex. A literal off the beaten path location that will probably only be found if you're actually looking for it. It has a bigger brother in The Echo, which is above it I believe, but The Echoplex can only be accessed by going down under a tiny bridge. Anyway, the parking for this venue is free so as you can imagine I was thrilled by this revelation. It's a very dark environment with black walls and sparse atmospheric lighting. It's got an interesting shape to it that I was struck by. It stretches all the way back from the stage to the bar. At least 50 feet or so. I definitely like it, especially because of how open spaced it felt.

When Allie and I arrived the opening act, George Sara, was already into their set. They really helped create an interesting mood, at least initially. The music was an interesting mixture of live string instrument performers and George Sara on his electronic setup. Fairly unique but ultimately I was only impressed by a couple songs before it grew tiring and monotonous. After George Sara came Alexa Wilding and her acoustic guitar. Nothing more, nothing less. She played a handful of folk songs that were decent enough though I'm not sure how much I enjoyed it at this particular show. It seemed slightly out of place amongst the electro leanings of Au Revoir Simone and George Sara's performance just before. But it was a nice breather and contrast falling between both of them. So it wasn't all that bad. As I said, either the music wasn't that great or I wasn't really in the mood that night for listening to soft folk songs, as endearing as they might have been. Although it was probably a mixture of both of those feelings. Needless to say, all I could think was, "Bring on Au Revoir Simone!"

Not long after Alexa Wilder ended the three amigas of Au Revoir Simone came on stage and took their positions behind their respective keyboards (one for each of them). I couldn't help but notice they were all dressed classy-like in their dresses and it very much fits their music style and personality. Things started off with "Another Likely Story" followed by "Sad Song", the latter of which was the only song from their debut album. This was fine by me because "Sad Song" is currently the only offering from that release I'm familiar with. The rest of the evening consisted of songs from their 'Still Night, Still Light' album that was released just last year, in fact it felt like they played nearly the entire album's worth of material. They were all lovingly reproduced with the usual slight differences that a live setting will bring. Going into the show I thought perhaps the charm wouldn't be as apparent live but I was proven wrong. There wasn't a lot of movement on stage given their necessary positions behind the keyboards but it wasn't a problem. The lights they used during the performances were also extremely complimentary, especially by the time the "psychedelic portion of the set" came around, as stated by one of the members, including lots of drug-induced color effects on the screen behind them. Overall, there's not much else I might say other than that I received exactly the type of show I hoped to get from Au Revoir Simone, and then some. I highly recommend getting to see them if you're a fan as you will have a fun time as I did. After all, if a fan of black metal (me) can appreciate their talent and charms then I think just about anyone has the potential to be wooed as well.

Official Website: http://aurevoirsimone.com/
Myspace: http://www.myspace.com/aurevoirsimone