New Releases: January 2012

Eleven comments on this month’s new releases from The Staves, Lana Del Rey, & more.

This month is all about the females, and the latest efforts from these two darlings are worth your listen and pocket cash.

The Staves- Mexico EP (Warner UK)

Okay, so this was released back in November, but The Staves, who opened for The Civil Wars at The Pageant on Sunday evening, most likely escaped your radar last year.

This trio of sisters from Watford, England, centralizes on simplicity: gorgeous vocal harmonies and soft guitar.  It’s familiar sounding, but in a nighttime lullaby that never gets old kind of way.  Think Laura Marling or Fleet Foxes (minus the testosterone and their infamous batshit trumpet solo).

“Mexico”, the title track and gem of this three-track EP, showcases The Staves’ in their prime, strong song-writing and emotive vocals.  As they harmonize on the line “I want to see the colors of another sky”, The Staves epitomize universal winter woes.  For just a brief moment, the comfort of spring is in sight.

Lana Del Rey- Lana Del Rey EP (Interscope)

Who is Lana Del Rey?

Is she a major label creation, the next best thing, the biggest SNL trainwreck since Ashlee Simpson?  Or is she all of the above?  Regardless, after just six months and over 19 million YouTube views later, Lana Del Rey’s haunter of a romance ballad, “Video Games”, has her in the national spotlight.

So far, her recordings deliver.  Del Rey’s sound is distinctive; a pairing of old-Hollywood meets modern R&B.  On “Born to Die”, she sings over a blend of strings, electronic beats, and a hip-hop vocal sample.  Similarly, LDR’s vocals are all over the place.  “Blue Jeans” finds her shifting from a deep soprano to a nasally alto to a full-fledged falsetto.

But these bipolar tunes are as sonically attractive as her glamour shots splattered on every other music publication and buzz blog.  Say what you will, but don’t count Lana Del Rey out so early in the game.  Her full-length Born to Die is out today.

Also recommended: Kathleen Edwards- Voyageur (Maple Music/Rounder), Chairlift- Something (Columbia)

This entry was written by Ryan Marian, posted on January 31, 2012 at 9:49 pm, filed under New Music, Review and tagged Chairlift, Kathleen Edwards, Lana Del Rey, The Staves. Leave a comment or view the discussion at the permalink.

New Releases: December 2011

Eleven recommends this month’s new releases from The Black Keys and Last to Show First to Go

As 2011 draws to a close and the “Best Of…” lists begin, these two releases prove that it’s not over until it’s over. 

However, while The Black Keys’ ubiquitous “Lonely Boy” viral video is certainly engrained into your eyes and ears by now (sweet Carlton moves, am I right?), make sure to later divert your attention to locals Last to Show First to Go.

The Black Keys- El Camino

Slap some glam onto eleven new tracks of The Black Keys’ dirty blues-rock and you’ve got their seventh studio album, El Camino.  Undoubtedly their catchiest release-to-date, the Keys manage to perfect luscious hooks and sugary riffs with tremendous masculinity.

Drawing obvious influence from producer/co-writer Danger Mouse, the Black Keys continue their post-Magic Potion transition from garage jams to massive commercial rock’n’roll, fitting for the arenas they’ll play on their upcoming tour.  Regardless, the blues are still there, and that’s something us St. Louisians can always appreciate.

While El Camino seemingly speeds to a quick finish with its full-throttle tracks (“Dead and Gone”, “Gold on the Ceiling”, “Hell of a Season”), the Keys do slow it down briefly for classic rock ballad “Little Black Submarines.”  However, the track (which is drawing widespread comparisons to Led Zeppelin’s “Stairway to Heaven”), ends in typical Black Keys’ fashion: an epic combination of shredding guitar and crashing cymbals.

Last to Show First to Go- The Farmer John EP

Bluesy influence takes a much different form on Last to Show First to Go’s The Farmer John EP.  

Following the release of their full-length Short Cuts, this local fivesome tightens its jazzy blend of horns and cello with modern Americana folk.  Sounding more cohesive and comfortable than ever before, The Farmer John EP displays maturing songwriting from Last to Show First to Go.

They’re still storytellers (arguably some of the best in the local scene), however, the focus here is much more deliberately political.

While structural corruption is the subject of “Dirt”, an ironically playful number, Last to Show First to Go construct a much more intimate account on the very solemn “Far Be It.”  Painfully relatable,  lead vocalist Bredon Jones eloquently illustrates a struggle with alcoholism, a dark social consequence of economic instability.

Miss out on Last to Show First to Go’s release show at The Sheldon last weekend?  No worries.  You can purchase a download or physical copy of The Farmer John EP here.

This entry was written by Ryan Marian, posted on December 14, 2011 at 6:00 am, filed under New Music, Review and tagged El Camino, Last to Show First to Go, The Black Keys, The Farmer John EP. Leave a comment or view the discussion at the permalink.

New Releases: September 2011

Eleven recommends this month’s new releases from Dum Dum Girls, Ladytron, and St. Vincent

Dum Dum Girls- Only In Dreams

On Only in Dreams, Dum Dum Girls transform more mature material into a peppy follow-up to 2009′s I Will Be.

The four-piece’s sound is tighter than ever, a much more polished, studio-produced version of their signature retro garage-pop.  Only in Dreams immediately kicks off into a frenzy of distorted guitar and a tight, pulsating drum pattern on “Always Looking.”  Stylistically, the album’s ten tracks vary, from the peppy, surfer pop gem “Bedroom Eyes” to “Hold Your Hand”, a very personal ode to frontwoman Dee Dee’s recently deceased mother.

Think The Supremes meets The Beach Boys meets The Smiths.  Can you really go wrong?

Ladytron- Gravity the Seducer

Hypnotic is undeniably the most fitting description for Ladytron’s fifth studio release.

On Gravity the Seducer, these English electro-rock veterans deliver an airy blend of analog beats, synthesizer effects, and haunting vocals.  Although less dynamic than their 2008 release Velocifero, tracks like “Mirage” and “Ambulances” reveal a more mellow, trance-like side of Ladytron.  Like a soundtrack to your worst nightmares, Gravity the Seducer plays like a futuristic haunted house you won’t want to escape.

St. Vincent- Strange Mercy

Chances are you’ve heard Annie Clark under her stage name, St. Vincent, in the past few weeks.

With the cover story in this month’s SPIN, a slew of late night television appearances, and the coveted “Best New Music” title from the ultra-hip editors at Pitchfork, saying that buzz around St. Vincent’s third studio release is high would be an understatement.

However, this buzz is well-deserved for Clark, as she has continued to reinvent her sound, most dramatically on her latest effort Strange Mercy.  Crafting a compelling mixture of post-punk, pop, and jazz with a distinctly unique voice to deliver an equally powerful emotional connection with her audience.  At first listen, the album is incredibly unpredictable.  On “Cheerleader”, what starts out as a timid vocal-heavy track transforms into a fiery blend of fuzzy guitar riffs and drums to match her self-proclaimed angst.  Strange Mercy will keep you intrigued, over and over again.

This entry was written by Ryan Marian, posted on September 21, 2011 at 8:09 am, filed under New Music, Review and tagged "Ladytron", "St. Vincent", Dum Dum Girls. Leave a comment or view the discussion at the permalink.

Review: Cults at Firebird 08/03/2011

Last night we caught a triple bill of distorted fuzz rock from Cults, Guards, and Writer.

With all of the buzz around their latest self-titled release, it was no surprise that Cults played to a packed Firebird last night. Similar to the both openers Guards and Writer, Cults mesmerized the crowd with enough distortion and loudness to send each and every concertgoer home with ringing ears.

And although I still can’t hear out of my left ear, my mind and body are entirely fixated on the triple-bill I just experienced.

Cults’ frontwoman Madeline Follin wooed every man (and woman) as she gently held onto each side of her dress, swaying back and forth as she poured out her heart through her high-pitched, girl-next-door vocals. Her timid stage presence felt fitting as she, Brian Oblivion, and their backing band played through a 35-minute set of cutesy ’60s girl group-style tunes.

The crowd went into a down-right boppin’ frenzy during “Bumper.” (Imagine a dance number by a modern-day cast of Grease who follow Pitchfork and Eleven, religiously). However, cutesy cannot be the only adjective to describe Cults’ live presence. Their modern-day take on the AM Gold sound is heavy in distortion and rock’n'roll energy.

Guards, notably the loudest act of the night, immediately dimmed the lighting, turned the fog machines on full blast, and played through a stunning set of vintage ’60s-style rock meets modern indie pop. Led by Madeline’s (of Cults) brother Richie Follin, the band’s style doesn’t stray far from that of Cults, though a much more masculine take on the era. Most impressive was Guards’ performance of “Long Time”, a trippy, hypnotic track combining shredding guitars and bass with vocals sang in unison.

San Diego duo Writers started off the night, energizing the crowd with their gritty, lo-fi fuzz pop. Their sound can be best described as a more toned-down version of Wavves that’s more suited for a makeout mixtape. In fact, the couple standing next to me agreed. Lip-locked with live music, those two definitely left The Firebird a happy pair.

This entry was written by Ryan Marian, posted on August 4, 2011 at 2:46 pm, filed under Live, Review and tagged cults, firebird, guards, Writer. Leave a comment or view the discussion at the permalink.

New Releases: 08.02.11

Eleven recommends today’s new releases from Ximena Sariñana, Moonface, Fruit Bats

Ximena Sariñana- Ximena Sariñana

Mexican singer-songwriter Ximena Sariñana, already a platinum-selling artist in her native country, crosses over into the U.S. with her English-speaking, self-titled debut.

Teaming up with Dave Sitek (TV On The Radio), Omar Rodriguez-Lopez (The Mars Volta), and Lily Allen producer Greg Kurstin, this 25-year-old had some serious help along the way. The album showcases Sariñana’s versatility and depth as a pop vocalist and songwriter.

On “Different”, she charms with soft vocals reminiscent to those of Zooey Deschanel, backed by a jangly summery melody equipped with all of the necessary bells and whistles (and horns). And while her sweetness lasts the entire duration of the album, she ventures into varying styles including dancehall electronica (“Echo Park”), pop ballads (“Bringing Us Down”), and gritty, distorted indie rock (“Shine Down”).

Moonface- Organ Music Not Vibraphone Like I’d Hoped

Imagine this: all of your favorite old school Nintendo games (Super Mario Bros., Donkey Kong, Mario Kart) soundtracked by ex-Wolf Parade frontman Spencer Krug. Organ Music Not Vibraphone Like I’d Hoped, Krug’s first full-length solo release since the band’s indefinite hiatus, plays exactly like this.

However, unlike the repetitiveness of Nintendo background noise, which tends to get on your last nerve after a few unbeatable levels, these five tracks continue to stimulate your senses in new and exciting ways after each loop.

Krug experiments specifically with the organ to create an eerie, hypnotic album. Added digital drums and distorted vocals give it an ’80s sound and enough beat to keep your toes tapping and your hips swaying.

Fruit Bats- Tripper

“She should dance if she wants to dance,” Eric Johnson repeatedly insists over an airy composition of harp and synthesizer effects. It’s this urgency to act on pure feeling that sets the theme on Fruit Bats’ fifth studio album, Tripper.

Almost entirely a solo effort, Johnson focuses on story-based tracks about reinventing yourself, and it’s not difficult to see that theme play a similar role in his musical style.

Experimenting with the album’s production, Fruit Bats’ signature classic-folk rock sound often becomes dark and haunting. Tripper is Johnson’s most personal album to date, and chances are you will be able to relate.

This entry was written by Ryan Marian, posted on August 2, 2011 at 10:08 pm, filed under New Music, Review and tagged Fruit Bats, Moonface, new, Ximena Sariñana. Leave a comment or view the discussion at the permalink.