28th Feb2010

Productive at 402 Productions: Craigslist Competition

by nickwan

Ryan "Tambo" Tamborski (left), Erik Schau (cntr), and Nick Wan (right)

I’ve realized that there is not a lot of “other” articles on this site other than music reviews. So, to lighten the mood, I’ll show you some things the fellows of 402 Productions do from time to time, since we are all busy bees.

Ryan Tamborski and I met somehow… I don’t know when or where, nor do I recall any stories from “The Early 402″ days. And even if I did, I wouldn’t tell them. But because of this, folklore seems to be our best bet as to how we met. I know it has to do with me talking like a little girl and him jumping on my car’s hood and leaving a dent the size of a 6’7″ man, but much else is lost in this frizzled memory. In the end, Tambo and I have tried our best to keep ourselves occupied with various little-girl-voice-plus-large-man-body type things.

Although music is what we do mostly, our spare time is usually used to either: 1) write songs we end up forgetting 2) write scripts we never end up shooting and 3) being awesome. What might be included in being awesome?

A few nights ago, Tambo had some tickets to go to a basketball game. Of course, tickets is a plural, implying he had a ticket for himself and someone else. Sadly, since Tambo scares everyone he meets, he had no one to go with. After many hours (maybe just one hour) trying to find him a person to go with (we tried really hard, no joke) Tambo ended up giving up on his efforts. During this time, he posted an initial Craigslist ad for someone to go with… but to no avail. The ad itself was posted under “missed connections”. If you haven’t been entertained enough today, you should probably go and read some missed connections. Here’s a picture of Tambo’s hopeless effort (click to enlarge any pic):

Now, you may be thinking, “damn, I would have totally gone with him!” at this point. If so, shame on you for not parusing missed connections in the LA area. This ad, by the way, got him a total of ZERO replies. Anyway, Tambo’s failure, as well as our collective failures of trying to get him a date of some sort, left us to question whether anyone would ever reply to our craigslist ads. And so, the challenge was born. I would make his personal ad and he would make mine and the person who got to best emails wins. Simple enough. Here are both of our emails:

Tambo's ad created by me, Nick Wan

Nick Wan's ad created by Tambo

Now, you are definitely thinking to yourself, “no way in hell will either of these idiots will get any responses!” but rest assured… we did. For the ad I created for Tambo, he aquired 13 responses, the majority of them being fake people (like robots or spam), hookers, or guys (??????? this is the m4w forum). As for myself, Tambo forwarded me all my emails he receieve and I got 6 responses, most being fake as well. But within the mess of emails, there were some actual people replying back. For Tambo’s ad that he did for me, here are some quotes:

well you’ve succeeded in making me laugh at 3am.

I’m 37, a RN by profession. I just recently moved to SF bay area, originally from Calgary, Canada…

I liked your ad, it made me laugh. You got a facebook? If so, ad me: [censored email] and we’ll go from there.
Cheers

So, I had a good amount of real responses some how. I don’t know how, but I did I guess. Now, Tambo thinks I won… but I honestly believe he won because of the following:

heya…saw your ad..
tell me more about you.. also send me some pics and i’ll send you some.

Gold star my friend, you got me to giggle, and for a brief moment, realize that there are somewhat normal/smart people on the ol Craigs(shit)list
-Nina

Are u really the coolest guy everrrr lets  see whats your major at UCLA? lol

but the cream of the crop was a chick who sent us some nude pics of her. Of course, I can’t really show that… but she definitely showed it up. And so, since Tambo got porn from some random chick based off of my ad about chess teams and pokemon, Tambo won it.

So, in our spare time… we do things like this. There are a ton of other things we do that are already recorded and just need some commentary to go along with it or things we are doing and we just need to do them to write about them. I’ll try to make these types of posts here and there, so check back often.

Category : Complete Miscellany
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1 Comm
27th Feb2010

NW Reviews: Red Sparowes – The Fear is Excruciating, But Therein Lies the Answer

by nickwan

It’s hard not to lose yourself in the music. Eminem said that once, didn’t he? Well,  Mr. Shady was correct. It’s definitely hard not to jump into an album and get immersed by feelings. Sometimes we jump into some bad music, filled with nasty production or unfulfilling melodies, and we’re left with… well, bad feelings. And those are still feelings I suppose. But how much does it take for an artist to evoke good feelings? Enter, The Fear Is Excurciating, But Therein Lies the Answer by LA’s Red Sparowes.

I personally have had an affinity to Red Sparowes by association. My ex-roommate, Matt Jehly, introduced me to many of these instrumental post-rock bands ranging from Godspeed You! Black Emperor to Neurosis to Red Sparowes. Many a night spent drinking and playing video games with a playlist of post-rock blasting. But nostalgia aside, Red Sparowes musically do induce these similar feely-goody-feelings.

Some might call it “thinkingman’s music”. Record label-mates Russian Circles seem to occupy a post-rock niche more along the lines of mosh pits and head banging whereas Fang Island seems to occupy more of a dance party high fiving category. Red Sparowes might not have the throwback metal breakdown jive that Russian Circles produce at times, nor do they dance jam to a 4/4 beat in a major key, but there is something these fellows do that their other instrumental friends might not do: expand emotion. As the title suggests, where fear is experienced an answer is hidden. Each song off this album represents another journey, accompanied with a darker, sinister tone. Through the thoughts shot through your mind lies an answer. To what? It’s your puzzle, not mine. One you can choose to solve or not. Within that is the answer the Red Sparowes might be hinting towards.

Doesn’t let down. I love that, by the way. When an album sets a pace and it follows through with the pace… not breaking the momentum with some slow, off-ballad, just to flex musical muscle. Manymanymany bands seem to have a problem with arranging which songs make it on an album, as well as screwing up the order of songs on an album. Some albums might have the right songs on the album in the wrong order, and that is the deal breaker. Luckily for Red Sparowes, this album is flawless as far as pace and production goes. Also, the instrumentation and arrangement of each song seems to take on their own identities. This skill is also lost to many indie post-rock bands. Emotion is not verbally emoted in these kind of albums… so what separates the sound of one song from another? Imagination through song writing. There is a story behind each song, surely. And when you stick to your story, there is no gray areas between tracks. And that is a feat, believe me. In other reviews, what I just described is what I usually akin “expansion of sound” or “variance in style” or something like that to. Red Sparowes definitely exhibits a great control of their own style while being able to channel many other forms in their music. Many bands either go too extreme and seem like they have split personalities on an album (sometimes nice, but very hard to make well) or stick themselves into one style with no real variety to their style (usually boring and hard to enjoy if you are a new listener). Red Sparowes does a very good job maximizing their sound on each song, leaving the rest up to the listener. Finally, as I pointed out in my Joanna Newsom review, some bands take the route of creating an albums-worth of stand-alone songs in hopes that the songs created make up a great album. Red Sparowes themselves have pointed to this idea as a way they ended up creating this album. In my opinion, I enjoy these types of albums more, usually.

Hard to pinpoint a con, really. Although there might be some, as far as fans are concerned. Now, I will admit that this is the first Red Sparowes album I’ve listened to from beginning to end on my own will, which makes me not the best candidate to point fingers, but from what I’ve heard from previous albums, Red Sparowes have taken a different route in their sound.

Now, you can be the judge. In my opinion, their sound hasn’t drastically changed, especially in the sense that it has changed for the worse. However, if I may conclude, their previous full-length efforts were created with an idea/theme that was tackled in form of a full album. What I mean is that all their songs and representing one story, or one idea, or one theme. Within that, it’s easier to allow longer forms of styles to be represented on an album. So, you could have your hard, crashing, mega distortion part of the album extend for an entire song if warranted. On this new album, each song is representing a stand-alone theme of fear and truth. In this form, your hard, crashing parts no longer can extend five minutes or longer since each song only lasts anywhere from two to eight minutes. Which brings me to what I’ve heard through the grapevine… and by the grapevine I mean Matt Jehly, the one who is writing up the interview questions for Red Sparowes. He has said that the past albums seem to be more heavy at times, a selling point to Matt. Of course, there isn’t a lull of heavy on this album… but rather, shorter heavier parts to allow for stand-alone songs. From what I can tell, the band has progressed positively in their sound without tampering with what their core sound is comprised of. All the elements are still there, just interpreted differently. I don’t know if that’s a con (it’s not really a con for myself) but to represent the hardcore fans of Red Sparowes, I view your opposition.

People who will like this album: people who enjoyed my recommendation of The American Dollar and Russian Circles. Any post-rock lovers. Any instrumental lovers. Other people who would like this album: people who listen to some sort of closet-music (I’m a closet Blue Oyster Cult fan), people who debate whether to spend your merch money on the album or a shirt, people who always want to be front and center of a live show but wishes the sound quality was like the quality when you stand in the back of the venue.

So, earlier this year I said I’d be waiting on an album that could possibly shove The American Dollar in or out of the running for album of the year. Well, since there seems to be a strong representation of post-rock coming out lately, Red Sparowes and The American Dollar seem to have a strong case for a nomination nod… but I still hold my reservations for now. Although a great album, I would like to still see some more post-rock emerge before suggesting that the post-rock scene is back in full effect. There are definitely strong bands representing the genre as of right now, but I would like to see a few more newcomers out there. Until then, Red Sparowes will have to wait just like The American Dollar on a nomination until June.

P.S. As I said before, Matt Jehly will be conducting an interview with them which will go up very soon. I’ll keep you posted!!

Category : Interviews/Misc., Music
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55 Comm
25th Feb2010

30 Seconds to Mars – This is War

by Adam Haynes

30 Seconds to Mars - This is WarFirst things first.  I love the cover of this album.  That’s actually the only reason i gave the album a listen initially.  I have never particularly disliked actor Jared Leto’s venture into the world of alternative rock, but I’ve never particularly liked it either.  30 Seconds to Mars and myself have always had a kind of “meh” relationship.  So let’s just stay my expectations were tepid at best.

If I have to distill my review of the album down i would call it “intentionally epic”. The album is packed with swelling guitars and choral vocals.  As the album starts it is perfectly clear what 30 Seconds to Mars wants this album to be.  Songs taken individually do, at times, approach that tingling since of “epicness”.  Regrettably when taken as whole that same epic quality feels forced and a bit cheesy.  Track after track of choral backed bridges becomes tired by the end of the album.  Lyrically the album has the same impact.  Song after song of rousing calls to unity and victory become grating by the time the albums closer, L490, rolls around.  Had the album been compressed down into an EP its “intentional epicness” would probably have been much easier to swallow.

Category : Music, Record Reviews
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46 Comm
25th Feb2010

NW Reviews: Podcast #6

by nickwan

[powerpress]NWReviews-06-February25th.mp3[/powerpress]

In this: Xiu Xiu, Fang Island, Joanna Newsom, Husky Rescue, and Best Coast reviews. Maxi helps out with the outro music as well.

Errors: A few plural errors here and there. I said the cover of “Peach, Plum, Pear” was a cover by John Nolan. Although correct, it was actually by Straylight Run (probably just John and Michelle). A few other errors as well, but I really don’t recall them unfortunately.

Notes: Sorry if this one is a little drawn out… still trying to figure out this podcast thing. Any ideas as to what I should do is definitely welcomed. Also, feel free to check us out on iTunes for the same podcast, and all other 402 podcasts as well, if that’s more convenient for you.

Music:

Flirtphonic - New Car Smell [note: help out Flirtphonic by showing him some comment love at DJ Shadow's site!]

Husky Rescue – Sound of Love

Xiu Xiu – Dear God, I Hate Myself

Fang Island – Careful Crossers; Daisy

Joanna Newsom – Baby Birch; Occident; Soft As Chalk; Bridge and Balloons

Straylight Run – Peach, Plum, Pear [note: I couldn't find John Nolan or Straylight Run doing this... so here's Owen Pallett, who I mentioned in this podcast]

Category : Interviews/Misc., Music
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7 Comm
24th Feb2010

NW Reviews: Joanna Newsom – Have One On Me

by nickwan

I guess you would call her a heartthrob, right? Jonathan Taylor Thomas is to girls in the early to mid 90s as Joanna Newsom is to hipster boys of the now. Although, I’m personally frank towards the stylings of Sara Quin (second only to the girl from Baggy Time I suppose), Joanna Newsom is nothing short of clearly beautiful.

But is her album as beautiful?

The album itself is a conundrum. Three discs, no real direction as to which goes before or after either, and no real linking themes throughout each disc, separately or together as a 3-piece story of some sort. The artwork for the album is as wtf as the packaging… but the artist, Ms. Newsom, is also one to stir confusion.

First off, how did she appear as the leading lady in a world of glasses frames and vinyl records with no record players? She’s no newcomer either; Ms. Newsom has seen the last decade filled with her music… albeit… overlooked at times. What is the cause, though, of her resurgence in this scene? Other than the good looks, of course.

Well, regardless of what hype machine you’ve been reading, Ms. Newsom has successfully put to shame the doubters that have tooted all looks and no music.

The first of the three albums is definitely a no-frills-straight-up-Newsom disc. There is everything to love (or hate) about Ms. Newsom in here. A friend of mine once said Joanna Newsom would be the greatest artist of our generation if she didn’t have the voice of Lisa Simpson. At times, the Lisa Simpson is apparent… at other times, and I would go on to say the majority of the time now, Joanna Newsom has honed her singing skills into something more… dare I say… sensual?

The second disc is a little slower-paced in feel. There are glimpses of new Newsom, with introductions of horns and a bigger orchestration. Also, it seems as if Joanna Newsom is trying to show a little more vocal-love on this second disc, both lyrically and musically. The first disc had it’s instrumental track (which isn’t out of the ordinary for Newsom) but the second disc erred more on the side of words, with broken down songs more along the vein of something I would expect from Owen Pallett. As Owen Pallett’s style also encircles, Joanna Newsom switches between instruments as well as the amount of instruments throughout this second disc. At this point, the last track of each disc is a great bookend. And also, makes the wanting listener want even more.

The third disc starts off just how the second one left off, with a slightly more jazzy-paced track. I would venture out to say that the tone of the third disc begins more punchy than the other three. Maybe the glue that holds the other two together? As far as beginnings go, this third disc has the most full feeling to it and could have possibly been released on it’s own, a part from this three-disc entity. Yet again, Joanna Newsom proves to be a step ahead of all of us when you realize that the evolution that has occurred from disc one to three is the exact thing we’ve been waiting for since we all played out Ys. Ms. Newsom, on this third disc, takes more of an upbeat vibe, similar to her 2004 Milk-Eyed Mender songs, but with a more updated twist. As if her almost-rough-draft sounding tunes from discs one and two provided the path to disc three… it’s as if you took disc one and two and had Newsom song babies with “Peach, Plum, Pear” and “Bridges and Balloons”. Speaking of which, here’s a new song from her album and an old song!

For the Newsom-enthusiast, there is a lot to love. First off, it’s 18 tracks of Joanna Newsom. Definitely a great way to quell the past three years in anticipation. Second, she has done a great job in progressing in her own style while still giving the old hats something to chew on — no Schizophrenia Newsom on this album. Third (but not final), the style achieved although might not sound vastly different from her past works, the times are definitely different. In 2004, what the hell were you listening to? While Joanna Newsom was pumping out songs you cover for your local battle of the band shows, you were most likely watching The OC and downloading Death Cab for Cutie songs off LimeWire. If not that, you were still MySpace Bulletin-ing about Straylight Run + Taking Back Sunday + Brand New, placing bets on whether Hot Rod Circuit or Hot Water Music would break up first, or just finding out that Say Anything’s song “Belt” was the next coming of a musical Godsend. In any sceney-weeny case, you definitely weren’t listening to Joanna Newsom. Here we are, six years later, and Joanna Newsom hasn’t changed much and now she’s as hip as those Grizzly Bear and Beirut dudes. But the difference is that she’s been doing the same music since she’s been putting music out. She’s not in the scene’s pool. The scene is in her pool. But, she knew that… or else Ms. Newsom wouldn’t have been so kind as to let you have one on her.

Although the 18 songs and the kick-back-but-not-so-kick-back sound is very nice, Joanna Newsom seems to have stepped away from something I believe everyone loved from her and that is single, stand alone tracks. Unlike her first album, these 18 songs seem to support each other in more of a “we need each other” way rather than a “we’re great together, but alone we also rock” way. Some other examples of this common phenomenon: Brand New’s Deja Entendu versus The Devil and God are Raging Inside Me. Deja had the stand-alone songs whereas The Devil… had more of a “lean on me” type build to the music. Now, although this isn’t really a con… I personally believe that Joanna Newsom had a really strong quirk for making indie hits. This album doesn’t seem to have those same quirks that I originally fell for… but that doesn’t mean it’s bad. Just different. Who said cons have to be completely negative???

People who would like this: all hipsters and scenesters, all closet indie music listeners, anyone who loves the Simpsons. Maybe I should try something different then…

People who wouldn’t like this album: people who put a premium on “how easy is it to listen to this music?”, people who are more into electric instruments rather than acoustic instruments, people who didn’t like Karen O and the Kids. Other people who wouldn’t like this album: people into Xiu Xiu’s newest album.

I don’t know what to make of this new album, in my honest opinion. I know it’s a good album. But I’m really not sure if it’s an album of the year nominee yet. Some of the albums this year were so clear-cut that it was just instant for me to know… I know most (if not all) music blogs will cite this album as their album of the year, if not top 10. I’m just not inclined to do so just yet, especially when Owen Pallett set such a high bar for this style. Yet again, I feel as if there was a competitor against Mr. Pallett, it’d be Ms. Newsom’s album. With that in mind, I’ll give this the nod… but it’s tentative, and definitely not guaranteed a shoe-in.

Relay

Here’s some more Newsom for those who are more in my quirky song club.

Category : Music, Record Reviews
Tags : , , ,
4 Comm
23rd Feb2010

NW Reviews: Xiu Xiu – Dear God, I Hate Myself

by nickwan

I don’t know if the title says it at all, but the Bay Area’s watered down version of The Cure, Xiu Xiu, has produced another awkward-rock album. The sad thing about this album is that there is a crowd for it… and at times, I see myself actually liking some of it.

First off, how can you enjoy Jamie Stewart’s voice? Unlike Robert Smith of The Cure, Stewart doesn’t seem to possess the dynamic nature that Smith possesses. Without the random squeals along with purposely-forced singing stresses, you just have someone who sounds like they are trying too hard to be a Robert Smith-type singer. And yet. Why are there times I enjoy it?

Somewhere around 3:05 is the song “Dear God, I Hate Myself”, the title-track from their newest album. The first half of this video, from 0:00 – ~3:05, is a PERFECT dichotomy of what to HATE from Jamie Stewart. Now, don’t be fooled… his album isn’t just him on a guitar acting stupid and playing as if he’s trying to learn the guitar on stage. There are other noises. But plenty of the album is this awkward-rock thing that bands like The American Dollar are trying to move away from (with legitimate reason, right?). The other half of the dichotomy is what I enjoy though… this almost forceful angsty weird singer-songwriter stuff that definitely breaks the mold of what singer-songwriters are trying to pull off. Yet again, the song itself isn’t just Jamie Stewart singing along with his distorted guitar shouting “Dear God, I hate myself!” but rather accompanied very nicely with his studio band. And with that, there is some light at the end of this album.

It’s got some nice, practically pop, rhythms thrown in to the fray of noise and sounds. With that, it’s listenable and enjoyable if you’re into scavenger hunts during your listening time. The unpredictability makes the album fun while you enjoy some random beep-boop sounding electronics along with the random guitar or drums thrown in. I find myself nodding to a song that I definitely hate. That says something right?

This album, as with other Xiu Xiu albums, will never translate to a decent or representative show that showcases their songs. I could never see this being enjoyable to watch live as much as it is enjoyable to tap my foot and rip my hair out while I sit at my computer. Although, like his albums, his shows (and songs that he plays with band in tow) are hit or miss. And I do believe that if it’s a coin toss for an enjoyable show, then it’s definitely a con in my opinion. As far as the album is concerned as well, even though it seems as if the style and tone of the album is very honed in on a certain sink of music, the album lacks depth throughout. The weak presence of a different side of Xiu Xiu on this album is tragic, since the album itself does have glimpses of promise throughout. It’s as if someone cut up 12 decent songs, put the parts in places where they shouldn’t have been put, and popped out this album. Is it good? Is it bad?

Well, unfortunately for the art-rock scene, Xiu Xiu isn’t doing anything new. Xiu Xiu is leading a charge into a dark closet with the door slowly shutting behind them. And for everyone following them in, good luck. As for me, I had my ear pressed to the wall and enjoyed what I heard at times. I’m just glad they are in the closet and not pushing out. I wish I gave a “Okay Album” review, but when I first thought of rating albums I knew I didn’t want to have a crappy sliding scale rating system. Black and white. Either listen to this album or not. And if I had a choice, I wouldn’t. So, sadly…

Although, I’m only one person. Just like Bat for Lashes showed, TONS of scenester bloggers will love this album, surely. So, to leave you with something alright… here are two live videos of Xiu Xiu, in full band form, playing. I personally was a fan of “I Luv the Valley OH!”, albeit the crappy quality of audio. The second video is definitely one of those “miss” type songs… but you might like it. Let me know what you think!

Category : Music, Record Reviews
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54 Comm
22nd Feb2010

NW Reviews: Fang Island – S/T

by nickwan

Have you ever had something so amazing happen to you that you had to reevaluate your entire life? For example, the first time you went to Disneyland. Maybe you were 10. Maybe you were 21. Either way, it was the most awesome experience of your life at that point in time right? Even today, in a world that sucks with negative crap happening all the time — money lost, wars keep warring, job pool dry, mainstream media brainwashing — Disney was/is trying out FREE Disney days on your birthday (expired already) or if you donate time to a nonprofit (still going), trying to provide that Disneyland is the happiest place on Earth. Now, I digress a little… but the message stays the same in this preface. In the realm of lo-fi, minimal, obscure, and a “choose-your-own-adventure” type take on music in the recent days, Fang Island is the Disneyland to a nightmare.

This review will be ladened with YouTube videos, mainly because of the different entertaining realms that have been recorded for this band. Why? Because it’s Disneyland in music form. It’s music to reevaluate your musical life with. View.

Not impressed yet? Maybe their single isn’t the best way to get you in the mood (for some)… how about this then:

That was impressive wasn’t it? Still not sold on this? Well, what if I told you that Fang Island’s new self titled album is the best album of the year? And what if I told you that if this album came out LAST year, it’d be the best album bar none? I know what you’re thinking, “HOW COULD THEY POSSIBLY BEAT OUT TEGAN AND SARA AND DAVID BAZAN!??” Well, let’s go to the pros my friends.

It is the best music this year. It’s more original than some of my favorite choices, Owen Pallett and Magic Theatre, and more care-free than some of the most care-free music this year, Los Campensinos! and Bettie Serveert. Some people don’t like the idea that a band is “better” than other bands, but that’s just a lame way of agreeing with me. This band is better than your favorite band right now. Upbeat tempos to dance and punch the air to, intricate melodies from fast paced to slow, sex-like paced, it’s hard to argue against the musical apt of Fang Island. Lyrically, hard not to sing along with all the chanting and high fiving going on. But that’s only if you still have breathe after jumping and punching the air. Definitely a nice change of pace from what the scene is offering up at the moment. Think if Criteria harbored more influence, bands like this would be out here years ago. Great way to throw down some good base for new music to come.

I wouldn’t go on to say this band is the prototype band for this kind of indie rock, but it’s damn near it. Although excellent in the musical styling and song structuring aspects of their music, lyrically not exactly what some might want. Mock Orange and Built to Spill seem to be the other side of the lyrical/vocal spectrum, albeit older. As shown by the video below, Andrew W.K covers is somewhere in the spectrum of what they could possibly incorporate in their next musical endeavors… but as lyrics and vocals become more apparent, usually musical instrumentation takes a backseat (see: Weezer’s Pinkerton vs their next album “The Green Album”). I would go on to say that Criteria’s effort on their album When We Break might be the prototypical album as far as this style of music goes. A great blend of lyrics and instrumentation… maybe a fusion of Omaha and Brooklyn? Early 00′s meets early 10′s. Wait, it’s been a decade already? What the crap?

People who will like this album: people with spines, people who wished Weezer kept Matt Sharp to create better Pinkerton-esque music, people who have been waiting for real change since Obama gave the 2004 DNC keynote. Other people who would like this album: people who wish Criteria flew back into the scene, people who loved Minus the Bear’s Highly Refined Pirates, people who wish Up Up Down Down Left Right Left Right B A Start from NJ was still a band.

It’ll be hard to top this band, I feel. Not many bands have the full package. Maybe I’ll discuss how an artist garners a better “score” for me in this upcoming podcast. Fang Island definitely has the full package, based on their studio efforts and their live performances.

Relay

p.s. wtf, this ice dancing couple is dancing to Linkin Park. But it’s a cover with Aaron Lewis from Staind. Why haven’t I heard this before? I’m glad I haven’t… but… this is maybe the opposite of that Fang Island + AWK video.

Category : Music, Record Reviews
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58 Comm
21st Feb2010

NW Reviews: Husky Rescue – Ship of Light

by nickwan

As I continue through this year I slowly realize that my reviews, per album, are becoming much like the scores from Olympic judges. I’m not saying I’m the international committee of indie music album reviews, but there are a few correlations. The biggest one is when I hear a great album from a certain type of genre and then it’s followed by a not-so-stellar album. It’s hard to be unbiased when a great album leaves a lasting impression of what other albums should strive to be. My friend Bryan explained to me once on how the scoring system works for gymnastics. I might butcher this, but out of a total ten points you are graded on difficulty, technique, and how “perfect” you perform your positions. So, let’s say someone does some great move… the difficulty is a 10 but because you suck at it you don’t get a full 10, so it drops to something like a 4. This is based off an exact idea and picture of what the move is supposed to look like, right? Music isn’t that way unfortunately, but when you hear an album that is a current “10″ then it’s hard to not compare albums to that measuring stick. Case and point, Husky Rescue.

If this album came out in January, I would be more into it than I am currently right now. The lo-fi, shoegaze-y, sad rock genre has a measuring stick. Efterklang. Meet or exceed that album and you got yourself “sitting pretty” on a scale of “forgettable to album of the year”. At the moment, Husky Rescue, not to be confused with the polar opposite Husker Du, is a scratch away from a scar, but Efterklang is the Neosporin covering up what could potentially be great.

It’s very easy to sit and listen and enjoy this album. The music itself seems to mix the current in-style minimal rock with a more instrumental vocal appearance than a lyrically forceful appearance (e.g. Husky Rescue vs. The Yeah Yeah Yeahs). From what I’ve heard from this type of music, the enjoyment comes more from the journey you put yourself in when this music is on. Whether you’re stoned out of your mind, at a party, having sex, or driving to work, this is mood setting music more than anything. And Husky Rescue spares no expense at putting you in your mood of choice. The music, simple but effective. The lyrics, catchy with a hook usually, and easily remembered for the most part. The album as a whole, fast if you get into it and long if you just want it playing in the background.

Efterklang did it better. I hate saying that to myself, since I don’t like taking anything away from an album if it wasn’t their fault… but it’s true. There’s a bar set, and there are still many many many different ways to impress or at least leave an impression. The impression left isn’t as pressing as Efterklang’s Magic Chairs. Is it Husky Rescue’s fault that their album isn’t as great as Efterklang’s? No. But could it have been? Potentially. And this is now the precedent I’ve set: best the better record and earn higher praise. If not, falter. As far as the album itself goes, the music drones out sometimes and loses some of the push each song usually comes in with. Other than the umphf factor being lost out, I feel that the vocals seem to be lost in the artsy ways of the music at times. Would love to hear more bump on the vocals.

People who would like this: people who like Efterklang, people who enjoy girl voices being sung over Sigur Ros sounding music, people who like uptempo sleeping music. Other people who would like this: people who enjoy hiking, people who enjoy naps, people who enjoy reading books from McSweeney’s.

Relay

Category : Music, Record Reviews
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18th Feb2010

NW Reviews: Podcast #5!

by nickwan

[powerpress]NWReviews-05-February18th.mp3[/powerpress]

In this: Special guest Dan Jordan helps me with my dreams, Rob Zombie, Motion City Soundtrack, Efterklang, and some Martini Ranch on the side.

Errors: I call the song “Mars Needs Women” something different. Oops.

Music by:

Martini Ranch – Reach

Rob Zombie – Werewolf Women of the SS; Mars Needs Women

Motion City Soundtrack – Her Words Destroyed My Planet; Disappear

Efterklang – I Was Playing Drums

Jeroen Tel – Alternative Fuel

Nick Wan Nation – I F* Hate You part I

Category : Interviews/Misc., Music, Record Reviews
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3 Comm
17th Feb2010

NW Reviews: Efterklang – Magic Chairs

by nickwan

What do you think of when it comes to Danish people? When I think of Danish people I remember a question someone was asked on TV… they were asked, “If you are Danish, where are you from?” and someone said “Uh, Dane?” Yes. The great country of Dane. Well, these guys from Copenhagen, DENMARK, are a fresh step in the right direction in my opinion.

Efterklang’s newest, Magic Chairs, is one beast of an album as far as production quality goes. Things that should illuminate great production are the clarity in the layers, a great mixture of volume and panning levels that do not sway to any particular instrument, and subtle effects, such as extra instrumentation or interesting ways to accent certain parts, that add to the overall album experience, amongst other things. This album glorifies the love for the studio. You can tell, most easily, through the vocals that they spent a lot of hours recording these songs. The music itself is somewhat straight forward, but that doesn’t take away from the prowess of the production quality. This might be one of the best produced albums I’ve heard from an indie band in a while (sans The Magic Theatre).

This album has a lot to offer in various multitudes, and delivers. From the more indie-pop to the lo-fi scenester sound, it’s hard not to find something to like in this album. The band itself has been together since 2001 and from a decade of practicing, it definitely shows.

The sound itself harps on two sounds, one newer and one slightly older. The newest sound that helps the cause is the big instrumental sound of the indie scene right now. Strings, somewhat lo-fi, heavy vocals, and all brought together with a somewhat ethereal-sounding band, Efterklang heads in the indie-pop direction fast with a jet. The other sound, however, rings somewhat like Coldplay’s more indie sounding music. Coldplay, definitely not a face of the indie music world, is what is hinted at by this band’s direction to me. That’s good for more “big” musical aspirations, but not so much as far as cutting edge music is concerned. The Efterklang sound is amazing, but I am weary that the lines between Chris Martin and Casper Clausen will be drawn. And that definitely is a con to such a unique band.

People who would like this: people who don’t want to listen to crappy lo-fi art pop and people who don’t want to listen to crappy mainstream “contemporary” jams. Both fall into the same trench with me, crappy and somewhat heartless. The music in both unfortunately loved genres seems to be an after thought. Efterklang deserves much better. Luckily, with people like Owen Pallett sticking their neck out there for the road-less-traveled-indie-pop, there is a light for Efterklang and others. Other people who would like this: people sick of Coldplay, people who wished there was a pop version of Sigur Ros that sung in a language we could all understand, people who want to bridge a gap between the indie music realm and the classical realm.

Relay

Category : Music, Record Reviews
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