Behind the scenes at
KVRX we get a lot of music sent to us by labels and distributors, and we have to review all of it before it goes on the air. Fun job - most of the time. My reviews are usually short and to the point. Keep in mind, these are written for other DJs, so don't expect any particularly deep or insightful commentary.
Sally Shapiro |
My Guilty Pleasure
Paper Bag Records 2009
Sally Shapiro's debut in late 2007, Disco Romance, ushered in a brief renaissance of 80s "italo", and suddenly disco become cool again. Masterminded by Swedish producer Johan Agebjorn, "Sally Shapiro" was a nostalgic breath of fresh air. Agebjorn's beats and Shapiro's vocals were a blissful combo. Despite becoming the face of an entire scene, the real identity of this mysterious soft-spoken girl from Sweden remained a mystery. Two years (and 10 releases) later, the voice of the Sally Shapiro has managed to maintain her reclusive identity, never performing live and rarely giving interviews. Although the Summer of 2007 failed to spawn Disco Fever 2.0, Sally Shapiro and Agebjorn have stuck around, and My Guilty Pleasure is their second full length album. Polished and accomplished are the defining adjectives of their sophomore effort. Agebjorn's beats have evolved from repetitive simplicity, to a fully drawn out, layered landscape of synth rhythms that are much more condusive to the dance floor this time around.
August 2009
Marmoset |
Tea Tornado
Joyful Noise 2009
Discovering Marmoset two years ago was an epiphany. It's only so often you randomly stumble across your new favorite band. Marmoset don't play the latest brand of adorable hand-clap indie rock or claim to be avant garde or even novel. Simple, gritty, 90s psychedelic and punk-inspired, it's difficult to accurately describe their sound because they play music with such a raw, base style that few bands can pull off without being completely bland or unispired. On their website, they used to describe their music as "psychedelic for those who have swallowed more cough syrup than LSD". Most of their songs could be described as "brooding" and "mellow" but nearly every single one is a toe-tapper. Clocking in at just over a half-hour, the 14 track album, which comes a decade after their debut, is short no-nonsense and incredibly infectious.
August 2009
Recommended: 5, 1, 4, 7, 8, 3, 9, 11
Fruit Bats |
The Ruminant Band
Sub Pop 2009
Fruit Bats' 2005 album, Spelled In Bones, was one of the albums that soundtracked my very awkward high school years. Not one to revist high school, I assumed they had broken up or just stopped making music until I heard they had a brand new album. Since their last release, lead singer Eric Johnson joined The Shins and the band relocated from Chicago to Seattle. Somewhere along the way, perhaps through his association with James Mercer and Vetiver, the band decided to return the folk sound that marked their first few releases prior to Spelled In Bones. The music here is fun. Mostly lighthearted folk numbers and upbeat gospel-inspired anthems, with a few mellow ballads in-between.
August 2009
Deerhunter |
Rainwater Cassette Exchange EP
Kranky 2009
With last year's Microcastle / Weird Era Cont., Bradford Cox and co. made a rather drastic sonic shift, eschewing the spaced out ambiance that made them famous on Cryptograms, in favor of a much more stripped down, less convoluted, and overall less experimental approach. Cryptograms, released in 2007, was in many ways a transitional record for Deerhunter, coming off a troubled period that saw the death of one of the original members. That ambient sound was a reactionary shift from the harsh lo-fi noise of their debut Turn It Up Faggot. Songs like "Spring Hall Convert" and the title track "Cryptograms" were hints at the future progression of the band's sound and I think Microcastle was a near-perfect culmination. If anything, this EP only serves to prove that Microcastle was not just another experiment. Cox's haunting vocals, at once disengaged, contemplative, and assertive, accompanied by guitarist Lockett Pundt's (aka Lotus Plaza) distinctively fuzzy chords are the hallmarks of Deerhunter's sound and are displayed in all their raw glory. Despite their prolific output, which could probably see them produce a new album every other month, Deerhunter have displayed some of their best material on short EPs. Like 2007's Fluorescent Grey EP was a prelude to Microcastle, consider this to be a preview of sorts for the next full-length release, whenever that may be.
July 2009
Recommended: 2, 1
The Legends |
Over and over
Labrador Records 2009
Over the past few years, the Swedes have quietly carved out a hybrid niche, fusing moody post-punk and the noisy fuzz of shoegaze to create a sound that is at once consciously retro yet modern, and distinctly Scandinavian. Along with labelmates and fellow compatriots Aerospace, The Radio Dept., and The Mary Onettes, they've managed to establish Europe's dark northern reaches as yet another hotbed of indie rock's current obsession with shoegaze. And the match couldn't be any more perfect. Dark, desolate songs, interspersed with more lighthearted tracks somewhat mirrors the generic aesthetic image of Scandinavia: perfect sunny weather, in contrast to the bleak landscape and cold architecture. There's no shortage of noise or distortion - most of the songs are firmly in stylistic debt to bands like My Bloody Valentine and Swirlies. Yet a few of the songs (Tracks 4, 5, 7, 10), lighter and more pop-oriented, provide a nice contrast to the noise.
Recommended: noisy (12, 2, 8, 3, 1, 9) less noisy (11, 5, 10, 4)
July 2009
The Church |
Untitled #23
Second Motion Records 2009
I had no idea The Church were still around, much less making music. This is their 23rd full-length album since 1981 (hence the title). Band comparisons are cheap, but if you've never listened to The Church before, think off a cross between Bauhaus and U2. All the mellow doom and gloom of Peter Murphy combined with Bono's pomp and pretentious grandeur. The press liner touts the bands creativity, putting them in league with Sigur Ros, which is in fact a very lame comparison. I'd hardly call #23 experimental. The rhythms and song structures on this album recall more 80s nostalgia than avant experimentalism. But that's not necessarily a bad thing. This is The Church after all. In my opinion, they never got their due when they most deserved it. This may not be their magnum opus; the album starts off well enough - the first three tracks are brilliant - but it definitely tails off in the second half. Yet, this is a thoroughly solid release from a band that's been quietly and consistently going about their business for a long time. Highly recommended.
Recommended: 3, 2, 1, 4
May 2009
Kinky |
Barracuda
Nettwerk 2009
Mexico's most famous electronic group, Kinky rose to fame by cleverly combining Norteno rhythms, reflecting their Monterrey roots, with funky electronic beats and some suave production. No other band has successfully combined accordion with synthesizer quite so well. Sometimes the fusion came across a bit hokey, but at least it was original and unique. Here, they seem to have parted ways with their Ranchero upbringings, going instead for a more new-wave influenced sound. Past Kinky releases could have been labeled as world - their most famous song, "Oye como va" is straight-up Tejano. With Barracuda they have crossed into pure electronica. Sure there's still a tinge of the Norteno-sounds that made them famous, but any lingering traces are just background flair.
May 2009
School Police |
Circles EP
self-released 2009
Summer is approaching. That magical time of the year where all worries are lost, and I have all the time in the world for lying around doing nothing while listening to records. For me, perfect summer music has to be lighthearted without being inane, sweet but not sugary, and fun. With this short EP, School Police have nailed it. The music is fun, the beats are incredibly infectious, and overall, the music is cute but not annoyingly so. I don't know what most of the lyrics mean. Youth Brow (#3), my favorite track on the EP, is apparently about pancakes or something. Nonsensical but who cares? The first track is a bit more mellow, a nice lazy tune. There's a nice balance throughout, and at under 20 minutes, the EP is short and sweet.
Recommended: 3, 4, 1, 5,2 , 6
May 2009
Lotus Plaza |
The Floodlight Collective
Kranky 2009
When Deerhunter first began as a band, they were coarse, noisy, and had very direction or sonic cohesion. After the death of one of their original guitarists, Bradford Cox brought in an old friend named Lockett Pundt as a new member. It's no coincidence that Pundt's arrival signaled a drastic shift in the band's sound - away from the harsh lo-fi noise to a much more whimsical and dreamy lanscape of drone and ambience. It's interesting when musicians release solo side projects, to see just how much of an individual influence they have on their band's sound. Daniel Rossen's first release with his Department of Eagles, since joining Grizzly Bear, proved that he is the real progenitor of the "Grizzly Bear sound," and just like in the case of Pundt, this new direction for GB coincided with Rossen's arrival in 2001.
If you've ever seen Deerhunter live, Lockett Pundt is the guy who always has his back turned to the crowd or is staring solemnly at his guitar. I've never met him, but he seems by far the most shy and reserved of the band so it's understandable that he and his quiet demeanor too often get overshadowed by his outspoken bandmate Bradford Cox. Cox may be a musical genius, but clearly Pundt is the real visionary behind Deerhunter, and Floodlight proves it.
Recommended: 2, 7, 6, 1, 10, 3, 4, 8, 9
April 2009
