San Francisco was treated to some Canadian delight recently as Vancouver’s Black Mountain came through bringing along Toronto’s own The Sadies. Both bands are throw backs to the classic era of rock, yet they’re also wholly indebted to the contemporary music scene.
Omaha’s Cursive really only has one recognizable pace—fast and furious. And minus a bit of moderate cruise control during the latter half of their newest album, Mama, I’m Swollen, this unflappable identity is once again on successful display.
Most bands are contained by the genres from which the draw their influences. Pomegranates effortlessly ingest guitar pop, walls of jangle, sweet indie pop, punk agitation, gentle folk, mathy precision and wild psychedelia, yet the album is so big that it contains these rather than being contained by them.
This night’s trio, assembled on the occasion of the CD release party for Marco's new cover rich album Me Not Me, consisted of Marco on keys, Andrew Barr on drums and Marc Friedman on bass. Andrew’s brother Brad opened the show solo, demonstrating his wide range on both the acoustic and electric guitar while covering most of his recent acoustic release, The Fall Apartment:
The unique coupling of modern and outmoded electronic instruments is the heart of Simian Mobile Disco’s sound, and subsequently their live set up. The spread gives the duo a flexibility to maneuver onstage between digital and analog sound production: a flexibility they explored with curious fervency at the Mezzanine in San Francisco on Sunday Night.
he latest offering from Clem Snide might be considered some of their best or worst, depending on how diehard or loyal you are to the indie-rock stalwarts. Although they sound like an urbane version of Calexico on the leadoff number “Me No,” they seem to tone things down for a languid and limp “Born A Man.”
Overall One Last Century is an excellent effort and as Dezen grows and continues to express himself lyrically hopefully the music behind him will grow and challenge the listeners as well. Download today and enjoy.
It's little wonder that M Ward has collected so many favorable associations (Bright Eyes, MMJ’s Jim James) and even more au courant accolades. As displayed on his new album Hold Time, he writes sings and plays as if inhabiting his own peculiar universe.
Straight out of The Breakfast Club comes The Pains of Being Pure at Heart, quite the band name/album title and one that really is apropos of the music contained within. The sound of love-longed teens lounging in their Tiger Beat pin-up covered bedroom, crossed with shaggy-haired-skinny-rockers in a garage; turning up the feedback and peppering the skins and keys with the combined angst and pressure of a first kiss. Layers of acoustic guitars and feedback build on the quick opener “The Contender” before the abrupt end, leading to the swinging catchiness of distant broken lovers in “Come Saturday,” whose ending contains a sped-up Jesus and Mary Chain “Head On”-esque riff. The hooks, dreamy voices and lovelorn lyrics would flutter away if it was not for the impressive low-end teaming of Alex Naidus on bass and Kurt Feldman on drums giving the group a power-pop-punk vibe in the vein of The Exploding Hearts. Sure, you’ve heard this all before, and at times it borders on mimicry over tribute, but tunes like “Everything With You” and “Hey Paul” are fantastic and will win you over instantly. Earnest and melodic; borrowing heavily from Black Tambourine and slightly from My Bloody Valentine, while mixing in a sunshiny-sheen on top of the playing that bursts through. Where those groups were dense and required multiple listens you GET IT upon the first run through with The Pains of Being Pure at Heart.
Can music be cute? And if so, can it be a good thing? If Anya Marina is any indication, the answer to both questions is yes.
