fun.
Yes, here’s another band whose members chose to spell its name in a way that drives newspaper copy editors crazy.
Fortunately the pop music created by the trio fun., made up of former members of the Format, Steel Train and Anathallo, is interesting enough to allow us to forgive. Think of some of the arrangements as theatrical, much like those on Panic at the Disco’s 2005 debut, “A Fever You Can’t Sweat Out,” and you’ll get the idea.
“Aim and Ignite,” the group’s debut album, makes the case for rule breaking with opening track “Be Calm.” It begins with a swell of sweet violins and a touch of accordion that drift to the background as vocals, which at times ramble, at other times pause, telling the story of paranoia.
The band really shines, however, when the members play it a bit straighter. One of my favorite tunes on the album is “Barlights,” an upbeat pop song that celebrates feeling alive.
Rule breaking is akin to eating candy. It’s great at times, but gorge and you’ll feel sick and crave something nutritious. Fortunately, fun. feeds both parts of our musical appetites.
Review By Nancy Dunham of Washington Post Music Review
Album: Aim & Ignite [2009]
Genre: Indie / Power Pop
MySpace: http://www.myspace.com/fun
-Track List-
1. Be Calm
2. Benson Hedges
3. All The Pretty Girls
4. I Wanna Be The One
5. At Least I’m Not As Sad (As I Used To Be)
6. Light A Roman Candle With Me
7. Walking The Dog
8. Barlights
9. The Gambler
10. Take Your Time (Coming Home)
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Lights
There’s something special about solo female singer, Valerie Poxleitner from Toronto, Canada who goes under the name ‘Lights’, who currently has a self-titled EP available on Doghouse Records. But what it is that something special? Is it her sweet angelic voice complimenting her harmonic electro pop music? which she created in her bedroom. Well simply the answer is yes.
Lights is something I would not usually listen to but this EP grabbed me and made me feel good. With songs like ‘Ice’ and ‘Drive Me Soul’ being 1980′s new wave-influenced sensations with Lights showcasing her superb vocals.
‘February Air’ is well-written and is reminiscent of Imogen Heap and Bjork and shows that Lights is an innocent and emotional person. ‘White’ is bouncy song with Lights’ high-pitched vocals being layered on top of a guitar-driven chorus. ‘I Owe You One’ is a sweet electro ballad and the EP closes with ‘The Last Thing On Your Mind’ being a synth-heavy track filled with Lights’ positive lyrics.
Overall ‘Lights’ fantastically showcases an independent pop female singer, who has the songs, vocal talent and looks to succeed. This collection of 8 songs will make you feel good and forget about your troubles. The only downfall of the EP is that at times, she reminds you of cheesy euro-pop.
Review By Alter The Press
Artist: Lights
Album: Lights EP [2008]
Genre: Indie / Pop / New Wave
MySpace: http://www.myspace.com/lightsnoise
-Track List-
1. Ice
2. Drive My Soul
3. February Air
4. White
5. I Owe You One
6. The Last Thing On Your Mind
LIGHTS + JACK BRENNAN WARPED TOUR ORLANDO – 2009
Sexy Aint It
Controlling The Famous
Every year there are a handful of releases that the majority of people in a particular “scene” are highly anticipating (Brand New, Thursday, mewithoutYou, AFI, Taking Back Sunday and so forth just to name a few for 2006). Sometimes these albums live up to or even beyond the hype and anticipation; however, there are times when the bands who have made a name for themselves and established quite a fan base release albums that are sub par and/or don’t meet the expectations of a lot of fans, even to the point of alienating them.
To counteract this problem, we have “sleeper albums.” These are records that come out without much buzz, hype or promotion, but are quite good. Not too many people hear about the record, let alone the band, and usually miss out on some of the best music that year (there are instances where for some reason they’ll get discovered after a significant amount of time has passed since its release date). Personally, it’s always a treat to find these “gems” and to be able to spread the word and love on them, helping more and more people to become familiar with the act and songs.
Well, allow me to introduce you to one of these “sleeper” bands and albums of 2006. Controlling The Famous, a very technical post-rock quartet, has released a pleasant surprise known as Automatic City. Who? I know, I know; I hadn’t heard of them until they recently were picked up by The Militia Group (who has gone on an indie signing spree as of late: Brandtson, The Jealous Sound). But don’t let that hold you back from attempting to get familiar with this experience. From start to finish, we’re treated to a very unique, yet catchy album chock full of listener friendly choruses and sing-a-longs. Their work has noticeable influences, but they crafted a perfect blend of something totally new and fresh. With guitar work reminiscent to that of Minus The Bear and an overall sound drawing comparisons to Small Brown Bike’s later work, these guys spin a web of melodies and harmonies that won’t get out of your head, causing you to listen to this album over, and over, and over again.
“Detox” sets everything in motion with its finger lickin’, vibrating guitar and slap happy bass echoing, while the drums “run their fingers through” the rhythm and the raspy vocals state their case at the end of each line right on beat. This opening track alone is what’s going to reach in, grab you by the collar and pull you closer to the speakers. That’s exactly what happened to me. As soon as I heard this, the few opening seconds, I was hooked and couldn’t let go. As you’ll see throughout the whole album, the production more than highlights and showcases the power of the bass and drums and is exactly what makes this listening experience so addictive.
Things don’t let down as you quickly transition into “Heart Attack,” which in the intro has a very similar vibe to “Cautioners” by Jimmy Eat World. Serving as a perfect example for this album’s ear-appeal, the chorus proclaims: “I need a minute to sleep through my heart attack/when I wake, when I wake/it’ll be right back,” which is followed by a slow, eerie verse before kicking back into the original pace. Without straying too far from this formula, the rest of the album, especially: “Highway Parking Lot,” “Easy Life,” “If You Die” and “Maybe We’re Dead” instantly reel you in from the first second, get your ears perked up and have you tapping your feet and snapping your fingers. After two or three listens of these tracks, you’ll be shouting back all the words.
Even though this is one of my favorite releases of the year and came out of left field, it still doesn’t mean it’s flawless. “Two Sides” doesn’t have the same spark and draw that the other tracks showcase and is pretty forgettable as soon as it’s done. The same can be said for the album’s conclusion, the Pink Floyd resembling “Devil’s Suitcase,” which clocks in at 6:53. It doesn’t really tickle the ears, or mind either, and in order to get back to the beginning I find myself skipping it. Either way, you still have a more than solid album here which won’t let you out of its sight that easy. Perfectly fitting production and unique yet catchy indie-rock will make a lot of people smile and glad to see there’s something refreshing still being done out there. As I stated, though, this disc is very “sugary” and addictive. It’s safe to say you’ll be instantly hooked, at least very curious, from the first second and won’t be able to hit stop. The least you can do is visit Automatic City in order to see if you like it; and if you don’t, then you’re not obliged to stay.
Review By AbsolutePunk.net
Artist: Controlling The Famous
Album: Automatic City [2006]
Genre: Really Indie ;)
MySpace: http://www.myspace.com/controllingthefamous
-Track List-
1. Detox
2. Heart Attack
3. Highway Parking Lot
4. Easy Life
5. If You Die
6. Two Sides
7. Long Day
8. Maybe We’re Dead
9. Pyromaniac
10. Devil’s Suitcase
Read MoreTry Album [Mediafire] | Controlling The Famous – Automatic City
Secondsmile
Two years after first making waves in the UK alternative scene, Dorset’s very own Secondsmile now return to make an even bigger splash with the follow-up to 2006’s ‘Walk Into The Light And Reach For The Sky’, aptly titled ‘Years’. Despite being the time elapsed between the two releases, the title could also allude to the musical progression, real or perceived, that the band has made in that time as well as the effort put into this album.
‘Years’ certainly sounds huge, a feat accomplished partly with the help of veteran producer Andrew Schneider (Cave In, Two Gallants) and the mastering skills of equally renowned Greg Calbi (Ramones, Sonic Youth, Mogwai…) during the band’s stay in New York. But credit also has to go to the band members themselves, raking the cash together for the trip and making the most out of their stay. The opening track ‘Smokestacks’ for example, is a wide-screen but low-key crawler of a song, building up beautifully from the kick drum beats in the intro to a tornado of spotlessly clean guitars and poignant vocals courtesy of an in-form Ross Smithwick. By contrast, ‘Stars Away’, with its dodgy beat and harp-like guitars is very reminiscent of BSM-labelmates This Town Needs Guns, whose Dan Adams in fact provided trumpets for the song.
Having moved on from the slightly messy post-rock of their debut album, Secondsmile have audibly put a lot of thought into how to streamline their songs while keeping that intricate, edgy feel. Judging from the fascinatingly dense but frail, thickly layered but permeable sound of the record, they have succeeded. The only detrimental point that could be made about ‘Years’ is that it atmospheric but not necessarily melodic, and at 50 minutes can be a bit testing. However, repeated and attentive listening will bring out the best in this album, a release that everyone involved with can and should be proud of.
Review By Noizemakesenemies.co.uk
Artist: Secondsmile
Album: Years [2008]
Genre: Indie, Rock, Experimental
MySpace: http://www.myspace.com/secondsmile
-Track List-
1. Smokestacks
2. Long Road Home
3. Tell Me A Story
4. Years
5. Goodnight, Sleep Tight
6. Stars Away
7. Everything And All That’s In Between
8. Aspen Fears
9. Halfman
10. The Burning Heart And The Dragon Tattoo
11. Soundtrack To Your Life
12. To The Sea
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Elliott Smith
Elliott Smith’s legacy is best spoken by his records. For all the emphasis placed on his unhappy backstory and the distressing nature of his death, Smith left behind a body of work that defies and exceeds any stereotyping. Sadness may be the easiest emotional current to pick up on in his songs, but Smith’s expressive range was as wide as it was subtle; his music could be angry, funny, hopeful, and despondent, often at the same time. New Moon collects two CDs’ worth of material recorded around the same time as 1995′s Elliott Smith and its 1997 follow-up Either/Or, and unlike typical posthumous releases (not to mention second ones), is a genuinely worthy addition to a stunningly consistent catalog.
Part of what makes both Either/Or and 1998′s XO so essential is Smith’s avoidance of “classic album” compartmentalization; you don ‘t get “the sad song,” followed by “the experimental song,” followed by “the upbeat song.” Smith didn’t record specifically towards any album, he just recorded– more or less constantly. At their inception, the songs compiled for New Moon were no less significant than those that wound up making the cut for Elliott Smith and Either/Or, and for the most part they’re no less developed.
Smith’s signature style is more musical than it is aesthetic; from the lo-fi folk of Roman Candle through the muscular chamber-pop of Figure 8, Smith’s songwriting tics remain completely recognizable. New Moon is overflowing with characteristic melodic turns and unexpected chord changes, yet still covers a good deal of ground stylistically. The chugging acoustic guitar of “Big Decision” conjures Johnny Cash, while “New Monkey” subtly nods to a similarly titled Beatles song. Each song seems fully realized in its own right; for a 2xCD posthumous compilation, it’s unbelievably refreshing to not pick up even the slightest whiff of exploitative barrel-scraping.
Like much of Smith’s material from this era, New Moon is by and large quiet, acoustic, and emotionally complicated. It’s easy to see why Smith’s music earned him a reputation as a “sad sack,” but such dismissals don’t really hold up to any scrutiny. When asked whether he considered himself a “lo-fi” artist, Smith once responded that he simply didn’t want the recording process to be “a drag.” Smith’s interest in the the expressive potential of recording comes through loud and clear on New Moon; even when the subject or tone of a song is depressing, it still carries an unmistakable note of joy.
Which is certainly not to say that New Moon finds him sounding “happy.” Many of the songs here are almost unbearably melancholy, but their weight is the product of expert craft, not wanton self-indulgence. The coda of “Talking to Mary”, in which Smith repeatedly intones “One day she’ll go/ I told you so,” would not be nearly as powerful without the subtle tension and movement in Smith’s guitar part. “All Cleaned Out”, which hints at the musical and lyrical concerns that Smith took up with XO, is made all the more affecting by a second vocal line that injects well-placed harmonies into an already memorable melody. Every musical decision on New Moon feels both intuitive and considered; never obtrusive or distracting, but thoroughly rewarding when examined in depth.
Nowhere is this clearer than on an early version of the career-making “Miss Misery”. This is the fourth, and earliest, version of this song that I’ve heard, and it speaks to the incredible care and refinement that went into Smith’s recordings. The melodic backbone of the song is definitely present on this version, as are formative fragments of the lyrics, harmonies, and arrangements. It’s fascinating to hear this track in such an early stage, but downright humbling to connect the dots to the song it eventually became. Smith had an uncanny and arguably unmatched talent for developing his music to suit his ever-evolving arrangement and production techniques, and every intermediate version of “Miss Misery” makes perfect sense the way it’s performed and recorded.
Phrases like “rare talent” are thrown around all the time these days, but this compilation makes painfully clear just how unique and valuable this music is. Smith’s visionary qualities were not terribly flashy or transgressive, and his great musical gifts were not those of innovation. Instead, he steadily and quietly wrote, honed, and recorded a body of beautifully executed, deeply moving records not quite like any others. Consider him the patron saint of hobbyists, a talented and dedicated craftsman with a tireless love of the creative process.
Review By Pitchfork
Album: Discography
Genre: Indie Rock / Folk Rock / Lo-Fi
-Album List-
Read MoreDOWNLOAD ALBUM: ELLIOTT SMITH – ROMAN CANDLE
DOWNLOAD ALBUM: ELLIOTT SMITH – SELF-TITLED
DOWNLOAD ALBUM: ELLIOTT SMITH – XO
DOWNLOAD ALBUM: ELLIOTT SMITH – EITHER/OR
DOWNLOAD ALBUM: ELLIOTT SMITH – FIGURE 8
DOWNLOAD ALBUM: ELLIOTT SMITH – FROM THE BASEMENT TO THE HILL
DOWNLOAD ALBUM: ELLIOTT SMITH – NEW MOON
Matt And Kim
Maturity is a good look for some bands, but Matt & Kim, at first glance, don’t seem the type. Over the past four years, the Brooklyn-based duo made its name from a joyously amateurish EP, a cheerily sloppy debut full-length, and an energetic live show that left a string of sweaty, satisfied audiences in its wake. Matt Johnson and Kim Schifino took Mates of State’s spare, co-ed, drum’n'keys set-up and bled it of anything mannered or pretty, leaving just raw, bleeting synthesizers, shouty singing, and relentless drumming. So the last thing we’d expect from this spazzy synth-punk band is a slowed down, gussied-up sophomore effort, but Matt & Kim wear their newfound growth surprisingly well.
Their previous recorded material was more like their propulsive stage show, so the first thing you’ll notice about Grand is the band explores new textures and diverse dynamics. More than half of the 11-song album lives in the mid- downtempo range, making Grand feel more wistful and intimate than its predecessors– likely the result of recording in Johnson’s childhood bedroom in Vermont. “Don’t Slow Down”, despite its title and “Just Can’t Get Enough”-like staccato melody, proves an insistent kick drum and repeated keyboard stabs can sound reflective and poignant. “Spare Change” buoys its droning, buried organ with handclaps and foot stomps but still manages to sound vulnerable and lonely amid the raucous percussion. And “Turn This Boat Around”, a drum-free ballad built on a charming calliope-like keyboard melody, is almost reverent in its relative stillness.
Such changes are welcome– a good band needs to evolve to continue to stay interesting– but Matt & Kim are still at their best when they are at their fastest. “I Wanna” takes a cue from earlier tracks “5K” and “Yea Yeah”, but even that track measures its breakneck pace with a slow section, settling its demanding verses into a more deliberate, looser groove. Instrumental “Cinders” features a melody so happily jerky and rhythms so dangerously spastic that you can practically hear paroxysmal crowds pogo-ing madly.
With glossy (by Matt & Kim’s DIY standards) production– double-tracked vocals, synthesizer effects (check that violin-like sound on “Good Ol’ Fashion Nightmare”), and more clarity of sound– a newfound emphasis is placed on Matt & Kim’s words. Luckily, Grand features not only some of the band’s most personal lyrics, but also some of its most universal. Though made in a more pastoral setting than these outer-borough denizens are used to, the album’s subject matter is still decidedly urban. “Don’t Slow Down”, one of two tracks that namechecks the LP’s titular Brooklyn street, is like a hipster “We Didn’t Start The Fire”, listing all of the tiny details of life in the creative underclass. “Lock knees, no keys/ Brooklyn, Grand Street/ Four flights, late nights/ Black socks, white tights”, sings Johnson, and thousands of other kids in his zip code (and others like it around the country) feel like he’s describing their Saturday nights– even if this album is less of a party than their previous recordings.
Review By Pitchfork
Artist: Matt And Kim
Album: Grand
Genre: Indie Rock
MySpace: http://myspace.com/mattandkim
-Track List-
- “Daylight” – 2:51
- “Cutdown” – 2:52
- “Good Ol’ Fashion Nightmare” – 3:30
- “Spare Change” – 1:14
- “I Wanna” – 1:38
- “Lessons Learned” – 3:36
- “Don’t Slow Down” – 3:08
- “Turn This Boat Around” – 2:10
- “Cinders” – 1:47
- “I’ll Take Us Home” – 3:27
- “Daylight Outro Mix” – 3:11
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