Thursday, March 31, 2011

Miumi - Blips EP

Miumi's Blips EP starts out rather ambient and minimal, containing drawn out structuring. The Blips EP however, changes very quickly into a collage of epic instrumentation, gripping vocals, and sparse beats and electronics. The only thing that I dislike about the Blips EP is that it is way too short. Miumi deserves much more time to show off their skill of intensity.

Typical post-rock builds on the structure of quiet repetition to loud repetition, but Miumi shy away from this technique and create a post-rock genre of their own. The Blips EP contains haunting lyrics and experimental tones that are very well developed. The intro features old vocal recordings that bring to mind Godspeed You! Black Emperor. 'Progressive Yoga' begins with electronics that sound like digital raindrops which leads into simple picked guitar on delay. The vocals come in and are very haunting and soothing. A sound snippet then leads into an epic climax of slamming percussion and screeching guitars, as well as funk bass, from what I hear.

'Bitcrusher' refrains from vocals and fills their spot with delightful percussion and forcefully melodic guitars. Warm piano fills out the song and leads into 'Sloggy', a haunting and uneasy track that turns into an energetic masterpiece. Lastly 'Bordeaux' closes the Blips EP with the same intensity as the rest of the tracks. Guitars, vocals, and warm synths make up the majority of the track, as well as a final sound snippet that sends the masterpiece off.

Miumi are a forceful band with a lot of potential in the future. Melodic and abstract, Miumi can go from ambient bliss to highly energetic post-rock. Fans of post-rock bands such as Halves, From Monument to Masses, and Mogwai, are sure to enjoy Miumi. I am very pleased with what I hear on Miumi's Blips EP and am looking forward to a full-length album with the same intensity. Miumi are very skillful musicians and structurally innovative in their approach. Please check out Miumi's Blips EP, you won't be disappointed.

Check out the tracks 'Sloggy' and 'Bitcrusher' off of Miumi's Blips EP:

Iroha - Iroha (2011)

To start off, Iroha's work is very similar to that of Jesu's. This is no suprise however, because Andy Swan (originator of Iroha) has been firneds with Justin K. Broadrick (Jesu, Godflesh) since the age of 16. At this early age of 16, these two made experimental music under the moniker Final. They put out several releases on their own and at the time, had no clue that would eventually become experimental production legends.

Andy Swan was active in the dance music scene for some time, before finding his love for experimental guitar work from the 80's. His new project, Iroha, which also features Diarmuid Dalton of Jesu and Dominic Crane of Rumblefish, takes elements from all over, including shoegaze, pop, and industrial. The songs 'Last Day of Summer', 'Dreams', and 'Autumn Leaves', have a melancholic/shoegaze feel, while 'Eternal' goes the more industrial route. 'Eternal' is my favorite track on the album and sounds very much like a Jesu release. The last track, 'Iroha', features female vocalist Mio singing in Spanish and is unlike anything on the entire album.

The album also contains a bonus disc which contains remixes of the entire album, done by Justin K. Broadrick himself. The similarities to Jesu are even bigger with the addition of this bonus disc. On the Jesu remix of 'Last Day of Summer' there is little guitar work, and instead has hard-hitting beats that recall Jesu's Pale Sketcher project. The remixes on this bonus disc are created by Jesu (as mentioned), Transitional, and Black Galaxy.

One thing needs to be noted, and this is that Iroha definitely know how to create transcending music. This is music that one can get lost in and actually feel the effects of. Although Iroha is fairly new, the band members have been making music since they were teenagers (now in their 40's) and definitely have the skills to produce legendary music. Do yourself a favor and check out Iroha's self-titled album on Denovali Records.

Check out the Jesu remixes of 'Eternal' and 'Last Day of Summer' here:


Dalek - Gutter Tactics

Hailing from Newark, New Jersey, industrial hip-hop pioneers Dalek bring you Gutter Tactics. Named after the robot from Doctor Who, Dalek make dark hip-hop filled with drones and static. In my opinion, MC Dalek and producer Oktopus create hip-hop that is not necessarily for hip-hop fans, but more for fans of industrial and electronic music. This album takes the ambiance of Mogwai or Sigur Ros and hip-hopifies it to that of Public Enemy or earlier, harder hip-hop. It is a great album and deserves attention from music fans all over. 

Gutter Tactics opens with the track 'Blessed Are They Who Bash Your Children's Head Against A Rock', which is a very controversial track that contains Reverend Wright's infamous post-9/11 speech. Many ignored this speech but to me, it speaks truth about American culture. 'Armed With Krylon' is a crushing track, while 'Who Medgar Evers Was...' is a softer, more focused track. The track 'We Lost Sight' is my personal favorite and is a breath of fresh air from the rest of the album. The track contains many harmonics and lots of ambiance, recalling that of Mogwai. Synths and whispered vocals make up the majority of the track. The title track 'Gutter Tactics' combines elements from the present, as well as elements from past albums. The last song on the album, entitled 'Atypical Stereotype', is one of Dalek's longer songs and focuses mostly on ambiance and static.

Gutter Tactic's overall production leans more towards that of industrial music than that of hip-hop. This album is not for everyone, but for those who like industrial and doom in their beats, they will feel right at home. Vocals are pushed to the bottom, heard underneath an earthquake of distortion and ambiance, ultimately creating a unique sound. Dalek have created a masterpiece, in my personal opinion, and it will definitely appeal to fans of experimental music of all sorts.

Check out the track 'We Lost Sight' off of Dalek's Gutter Tactics:

Wednesday, March 30, 2011

True Widow - As High As The Highest Heavens And From The Center To The Circumference Of The Earth (2011)

On March 29, 2011, Dallas, Texas based trio True Widow released their second album through Kemado Records. The album is entitled  As High As The Highest Heavens And From The Center To The Circumference Of The Earth, and it pretty much came out of nowhere. The same goes for their first release. True Widow are just now getting the recognition they deserve with this second release. The project was conceived when lead vocalist and guitarist Dan Phillips (formerly of Slowride) was sitting on his couch in early 2007 with a guitar in hand, strumming along. According to Phillips, he doesn't sit down to write music, instead he sits down to play guitar and sometimes the writing process just comes along on its own. True Widow termed their type of music 'stonegaze', but I hear elements from all over. This album is a mix of grunge, shoegaze, post-rock, sludge, doom, and slow-core, which creates one interesting and incredible sound. 

Many songs feature bassist Nicole Estill on vocals. Estill's vocals are very reminiscent of Belinda Butcher from My Bloody Valentine. The vocals are soft and almost whispered, carrying that laid back vibe. Her bass work is very crushing and is a major contribution to the overall sound. An example of this crushing bass can be heard on the track 'Skull Eyes'. The band is rounded out by Slim, the drummer, who provides an amazing beat section to the mix. Much of the album's heaviness and sonic structure comes from Estill's melodic bass playing, while Phillip's guitar work gives the songs rhythm and support. Much of Phillip's guitar work is melodic and shys away from blending in with Estill's bass to create a heavier atmosphere. The guitar work is slow while the bass is crushing and heavy, thus giving the music a sound that is similar to slow-core. True Widow likes to experiment and this can be heard on the entire record, but most notably on the song 'Wither'. Here, Estill has a bass solo and is even heard bending a string, creating a distorted, wah-like effect.

Sometimes a good part in a song may go by too fast, leaving the listener pressing rewind a thousand times, but with True Widow this is never the case. The music goes from repetitive to having a variety of change-ups, but also it is structured, so much of what is heard at the beginning of a song is heard at the end of a song, only with more layers built up. Repetitive or not, True Widow's are a keeper in my book and will definitely please fans of slow but very heavy rock music. Do yourself a favor and please buy As High As The Highest Heavens And From The Center To The Circumference Of The Earth from True Widow.

Check out the track 'Skull Eyes' off of True Widow's As High As The Highest Heavens And From The Center To The Circumference Of The Earth:

Tuesday, March 29, 2011

Black Sea - Somethings Cannot Be Mirrored (2010)

Black Sea is a post-metal band from Curitiba, Brazil. In December of 2010, they released their debut full-length album entitled Somethings Cannot Be Mirrored. This is the second release from the Brazilian rockers, the first being their It's All About Silence EP. The EP received a lot of recognition from post-rock enthusiasts worldwide and helped get the band into the post-rock community. Black Sea are daring music makers, but they do a very nice job at it. Bettering textures and experimenting with new sounds are just a fraction of how Black Sea write their music. Progression is key and that is where the term progressive metal comes into play.

Somethings Cannot Be Mirrored blends many styles but is mainly a post-rock/post-metal album. The guitar work goes from quiet to loud, which post-rock is known for, and sounds less open than typical post-rock. The guitar work on this album is full and does not drag on. Elements of jazz bass can be heard but the atmosphere of the entire collective makes the bass sound almost like sludge or drone bass. There is also very non-traditional drumming on Somethings Cannot Be Mirrored. One thing that is not common in post-rock is vocals. Somethings Cannot Be Mirrored contains very amazing vocals that are somewhere between punk and metal style vocals. The vocals are not so much screamed as they are yelled, which is where the punk sensibility comes in. There is a very distressed tone to the vocals and this is where the metal comparison is heard. This is particularly heard in the song 'Waiting for Disarm'.

Black Sea's music is sure to please fans of post-rock and post-metal, as well as experimental music fans everywhere. Somethings Cannot Be Mirrored blends many styles (punk, metal, post-rock, post-metal) but ultimately has a style of its own. Clocking in at 40 minutes and containing 6 tracks, Somethings Cannot Be Mirrored gives the listener just the right amount of time to get lost in the music while also coming out strong. These Brazilians definitely know how to make music and hooked my attention upon first listen. I see a great future ahead for Black Sea and many great tunes to come.

Check out the track 'Waiting for Disarm' off of Black Sea's Somethings Cannot Be Mirrored:

Monday, March 28, 2011

The Calm Blue Sea - The Calm Blue Sea (2008)

When a band creates a new sound and goes from the underground to the mainstream, they usually become influential. Bands that look up to these influential artists desire to sound just like them. Many times, in genres such as post-rock, we see exact replicas of the originals. A wide array of bands are influenced by an already perfected sound, leaving them little room to be creative or better this sound. Many post-rock artists create music that is very similar to how post-rock sounded 15 years ago, with little alteration. Then there is The Calm Blue Sea, who build upon their influences but differentiate themselves from typical post-rock by adding a unique twist to their music.

Hailing from Austin, Texas, The Calm Blue Sea utilizes a very similar song structure as fellow Texans Explosions in the Sky, but develop much heavier tones and a fuller and warmer sound. Their debut album The Calm Blue Sea opens with the track 'We Happy Few', which uses arpeggios and lead guitar that builds up layers so well, that you can actually feel the emotion in this song and not just hear it. The name of the song is perfect because anyone that listens to it is sure to develop a happy mood, no matter their mood before. 'Literal' follows the quiet to loud technique that post-rock is known for, but has a more cinematic feel. Piano and low-volume guitar consumes the first half of the track followed by feedback and layers of distortion that sounds like an earthquake. This track goes from the most beautiful sounding post-rock to the most violent sounding post-rock within minutes. The final track 'This Will Never Happen Again' opens with a fuzzy audio sample, arpeggios, and bass layers, followed by epic distortion that reminds me of Pelican and Isis.

Although The Calm Blue Sea uses the post-rock standard of quiet to loud, they are far beyond other bands using this technique. Their music could almost be deemed film-score worthy. The Calm Blue Sea were never at a crossroads when it came to writing music, because they knew from day one that they didn't want to be another Explosions in the Sky or Mogwai. They differentiated themselves from the other bands and created similar music using their own formula. The Calm Blue Sea is a phenomenal debut album from a fairly new band, so if they are already up there with the post-rock legends, they are bound to become legends themselves with their next release.

Check out the opening track 'We Happy Few' from The Calm Blue Sea - The Calm Blue Sea:

Sunday, March 27, 2011

Catacombe - Kinetic (2010)

Portugal-based band Catacombe create a unique mix of modern metal and post-rock. Their debut album Kinetic combines beautiful guitar passages, explosive riffs and very melodic arrangements. The album was released on December 18, 2010, and was recorded between January and March of 2010. James Plotkin helped to master the album. Plotkin's work is most notable on albums from metal pioneers Isis, as well as albums from Khanate, Pelican, and Earth.

On Kinetic, Catacombe create no gimmicks and have no intention of trying to be heavy or different. The album is just pure, musical beauty, and that is what Catacombe intended on when writing Kinetic. At times the album is hypnotic, pulling the listener in and dousing them in musical gasoline until a fire of sonic musicianship takes over their entire core.

Usually the music goes from melodic and atmospheric to sludgy and depressing however, there is a very skilled tone to the guitars and drums that captures the listener. The opening track 'Grundsatz' is a very haunting track and although it is repetitive, the quality of the track is so developed that it leaves the listener wanting more. 'Supernova' sticks to depressing sludge and doom while 'Sequoia' is a happier sounding track, due to how the guitar notes sound. The track 'Anna-Liisa' takes a more progressive and psychedelic direction in sound, using keyboards and haunting samples. 'Memoirs' is an extended track from their first EP and starts out very similar to the original version. The extended version of 'Memoirs' however, is more energetic and builds up into more of an epic sounding crescendo, eventually leveling out with simple chords. 'Cavalgada Epic' contains heavy, sludgy guitar passages but then breaks down into a progressive jazz passage towards the second half of the track. 'Mockba' is another heavy track that resembles the others, but this time around there is a short drum solo and bass passage that give the song a unique twist.

On Kinetic, Catacombe prove that one does not have to create 14-minute tracks to build epic atmospheres. Although the album is not as technical as some atmospheric post-metal, it is very skilled and developed. Personally, this style of music is better played raw and that is why Catacombe's Kinetic is an honest masterpiece.

Check out the track 'Memoirs' off of Catacombe's debut album Kinetic:

Talons - Hollow Realm (2010)

UK instrumental six-piece Talons create mind-blowing music that distances itself from traditional post-rock music. Their compositions are powerful and take influences from many genres, including classical music and math rock. The band's debut album Hollow Realm was produced by Tom Woodhead and was released in November of 2010. Hollow Realm clocks in at 40 minutes and contains 8 masterpieces that flow collectively. To me, this album is one big symphonic score. Many websites and reviews have cited Talons as having one of the best albums of 2010, and Hollow Realm is only their debut. Metal fans will love its technicality while softer rock fans will love what is in between. This is one of the most fun instrumental albums that I have ever heard. Think of what Russian Circles would sound like if their technical guitar work was mixed with the happy math-rock sound of Enemies, and this would just barely begin to describe Talons. There really is no accurate description for Talons except that their music is very original and in a league of its own.  Combining guitars, bass, violins, and percussion, Talons take you on a progressive journey through music and instrumentation with the release of Hollow Realm. Good things are in store for this UK-based band and they also have good things in store for you, the fans.

Check out the track 'In The Shadows Of Our Stilted Homes' here:

Saturday, March 26, 2011

Suplex The Kid - The Trinity Test (EP)

Glasgow, Scotland has always had a great music scene, ever since experimental music masterminds Mogwai formed in 1995. Apparently named after a wrestling move, Glasgow natives Suplex The Kid formed in 2008 and are one of the best bands to come out of Glasgow. The band members have stated themselves that they love post-rock and this is apparent in their music. One could compare them to a fuller and warmer sounding Explosions in the Sky, but personally I think Suplex The Kid are far more advanced than EITS. They also have similar tones to Mogwai, with lengthy guitar climaxes and crescendos. Suplex The Kid have self-released an amazing debut album, recorded and released their follow-up EP 'The Trinity Test', and even recorded a single with Andy Miller (producer for Mogwai).

On June 12, 2010, Suplex The Kid released their EP 'The Trinity Test' on Monograph Records. The EP features three tracks of sonic intensity. Opener 'Rebuild The Machines' is Suplex The Kid's heaviest track, in my opinion, and starts out with pummeling drums, followed by distorted bass and shredding guitar that is all up and down the fretboard. There is also a music video for the track, which is Suplex The Kid's first official video. 'All Beneath An Iron Sky' has a milder, softer sound for about the first three minutes which eventually builds into a crescendo of sonic explosion. The track sounds almost identical to Explosions in the Sky's music. The final song, 'Duck and Cover, Charlie Brown', is the perfect closer for this short EP. The track builds up with layers of guitars and effects pedals, delay on full-blast, and very non-traditional drumming. This track also brings to mind Explosions in the Sky. After slowly building up for close to five minutes, the track explodes into one of post-rock's biggest crescendos of 2010. The track ends very abruptly, leaving the listener wanting more, and that is really the only disappointing thing about 'The Trinity Test' EP. Good things are to come however, because Suplex The Kid are in the process of working on their second full-length album and I am sure it will be another masterpiece. I honestly think that Suplex The Kid picked the perfect name for their band. Apparently 'suplex' is an ingenious wrestling move and the band's mission is to 'suplex' their music on the fans. One thing is certain, I was definitely 'suplexed' by 'The Trinity Test' EP.

Check out the video for the track 'Duck and Cover, Charlie Brown' here:

Friday, March 25, 2011

TV On The Radio - Caffeinated Consciousness (Nine Types Of Light)


On April 12, 2011, Brooklyn-based experimental rockers TV On The Radio will release their fourth studio album, Nine Types Of Light, via Interscope. April 12 is not that far away, but far too long to not hear any new material from these soul-masters. There is no need to worry. The band released 'Will Do' on February 23, 2011 , and 'Caffeinated Consciousness' on March 10, 2011. 'Will Do' is a pop-ballad that will please many, while 'Caffeinated Consciousness' is balls-out rock 'n' roll. Nextnewmusic.net compares this track to having "an amped up So-era Peter Gabriel tone to it", which I couldn't agree with more. I also hear elements of psychedelic rock and punk rock. Personally, 'Caffeinated Consciousness' is TV On The Radio's next-best track to 'Wolf Like Me' (off of Return To Cookie Mountain). This, however, is just a personal opinion and TV On The Radio's entire collection is outstanding. One thing is certain, TV On The Radio will have some tricks up their sleeves with the release of Nine Types Of Light, and good tricks at that.


Check out the track 'Caffeinated Consciousness' here:



Thursday, March 24, 2011

Herra Terra - Quiet Geist

Boston-based band Herra Terra easily stand out from the rest of the acts on The Mylene Sheath label. They are a fairly new band to the roster and create dark, new-wave style pop music that is somewhere along the lines of Le Tigre, Depeche Mode, Head Automatica, and Duran Duran. For such young lads, Herra Terra sure know how to write mature music. Their sounds are a gift to a music industry that has gotten stale and bombarded with copycats. Most electro-pop bands have very weak vocals that go along with the music, but Herra Terra's vocalist has a very deep, mature sounding voice that makes this genre of music sound stronger than ever. This album may sound very familiar to fans of 1980's electro-pop, but it is in no way a rip-off.

The album opens with 'Ejection Seats', which is the perfect way to start off an album. The song starts off with a riff that sounds promising, grinding bass lines, and synth-heavy structuring. Tonelli's vocals come into the mix and immediately pull the listener in. This album has some of the most powerful vocals that I have heard from any new band coming into the industry. Songs like 'No Tricks' and 'Lost in Labyrinth' are very dance-oriented, where as songs like 'Make a Scar' and 'Organs for the Afterlife' are more alternative, rock sounding pieces. 'Nothing is Yours to Keep' is a very blissed-out, ambient track, which leads into 'White Cells Rush', a shoegaze track that sounds like it took a lot of influence from Depeche Mode.

All in all, 'Quiet Geist' is an album that many will enjoy. It is an album for music fans in general. Herra Terra are not a big band, and that is surprising, because the music that comes from these four human beings is of top-notch quality. As much as I would like for Herra Terra to stay independent and continue doing the D-I-Y thing, I could see them getting big in no time. This is in no way a bad thing. The airwaves really need some good music and I think Herra Terra have just the trick.

Hear Quiet Geist in its entirety here:

Wednesday, March 23, 2011

Mogwai - Hardcore Will Never Die, But You Will

Glasgow, Scotland natives and experimental music pioneers, Mogwai, have carved the path for many and have influenced numerous other bands in the post-rock genre. For a genre that is very serious and almost melancholic sounding, you would think that the pioneers would keep this sound alive throughout, but this is not the case. Mogwai, for one thing, have a great sense of humor. One can tell this by just looking at the song titles. Names such as 'Batcat', 'Glasgow Mega-Snake', and 'I'm Jim Morrison, I'm Dead' make no sense, but they don't really need to, because Mogwai's music is that legendary. They like to experiment with many different styles and are safe from being labeled post-rock, a name that they have always despised. One thing is for certain, these five Scots continue to make ears bleed with the release of 'Hardcore Will Never Die, But You Will'.

Many of the songs on 'Hardcore Will Never Die, But You Will' follow in the footsteps of Mogwai's epic catalogue, however, there are some surprises on this release. Many of the sounds that Mogwai create could be sounds that one might hear in big-budget films or car commercials, but other sounds could even be danced to in a club-type setting. Opener 'White Noise' begins with muted guitar and lush piano arrangements. Keyboards help to round out the track and form the central melody for its entirety. The track 'San Pedro' brings to mind stoner-rock (Kyuss, Queens of the Stone Age), where tracks such as 'Mexican Grand Prix' and 'George Square Thatcher Death Party' use mainly keyboards and synths to create 80's sounding electro-pop. These tracks bring to mind bands such as Kraftwerk, Neu!, and My Bloody Valentine. 'Rano Pano' contains fuzzed-out guitar and remains fairly monotonous throughout while 'Death Rays' contains guitars, synths, and pianos, to create a spectacle of beautiful melodies (something Mogwai is very keen on). 'Letters to the Metro' and 'Death Rays' are both very mood-driven tracks, but where 'Death Rays' sounds hopeful, 'Letters to the Metro' sounds sleepy. 'How to Be a Werewolf' begins as a slow, synth-driven melody, which eventually turns into a full-fledged rock song. 'Too Raging to Cheers' sounds like a sadder version of 'Auto Rock' from 'Mr. Beast', while 'You're Lionel Richie' resembles Godspeed You Black Emperor with the slow-build-until-crescendo technique.

'Hardcore Will Never Die, But You Will' shows that Mogwai definitely can switch up the routine if they please. This is a masterpiece of an album and being the seventh album, one would think Mogwai would have gone stale by now, but it sounds to me like this is only the beginning (fourteen years later). Fans since day one, as well as new listeners, will hear elements of krautrock, shoegaze, dancehall, techno, post-rock, alternative, punk, and ambient, and will never get bored with this album. This could easily be Mogwai's best album since 'Young Team' and they have definitely opened new doors over the years.


 

Tuesday, March 22, 2011

Vessels - Helioscope

Leeds-based five-piece Vessels have created a masterpiece with their second album 'Helioscope'. The album was released through Cuckundoo Records on March 7, 2011, and is Vessel's first album in three years and the follow-up to their debut album 'White Fields & Open Devices'. To be honest, the three years were well spent and the wait was well worth it.
The great thing about Vessel's 'Helioscope' is that every track is different (contains many styles) but the album still manages to keep the post-rock sensibility throughout. The post-rock genre has gotten so watered down over the years with every new band sounding like an exact replica of the pioneers of the genre. Post-rock acts today have to remain focused and throw in new styles/techniques to keep the listeners' attention. No one wants to hear the same album twice, and Vessels have succeeded in creating something completely different than their other material.

The opener 'Monoform' takes elements of krautrock and free-form jazz and then takes off on its own path within the last sixty seconds. Bands such as Tortoise and Don Caballero come to mind. 'The Trap' is the only song on the album that resembles anything the band has released before. The scenic melody reminds me of 'Hundred Times In Every Direction' off of 'White Fields & Open Devices'. 'Later Than You Think' reaches post-rock's peak. It is an experimental gem that reminds me of Foals, another UK-based act. The track that stands out the most on 'Helioscope' however, is 'Recur'. This song contains breathy vocals (something rarely heard on the album) and sounds very similar to an early nineties shoegaze/grunge/alternative track. It is a completely new sound for Vessels and it is phenomenal.

'Meatman, Piano Tuner, Prostitute' is as strange as the name itself, but a beautiful sounding strange. The track contains gentle vocals by Brighton-based singer Stuart Warwick and sounds to me like Radiohead and Flying Lotus had twins and named them Mogwai and The Album Leaf. 'Art/Choke' is a very heavy and noisy track while 'All Our Ends' is filled with acoustics and vocoder-driven singing. The closing track 'Spun Infinite' completes the album with choral vocals and its feel is slow and subtle until it eventually fades out.

'Helioscope' is, all in all, a beautiful record. It was produced by the legend, John Congleton (This Will Destroy You, Explosions In The Sky), who has produced some of the most epic sounding recordings and continues to do so. This album is definitely an accomplishment for Vessels and being only their second album, one can only hope for better things to come, and it can't get much better.


Monday, March 21, 2011

Sey Hollo - Growth (EP)

Hailing from northern Sweden, Sey Hollo is the solo-project of Sebastian Larsson. The music is generally made up of rusty sounding guitars and old pianos. This is very stripped down music. Some might even call it poor man's post-rock. Sey Hollo follows the same structure as other post-rock acts (quiet, loud, quiet, loud), but manages to not be as technical. The music is very simple all around, but still manages to be heavy in nature. Sey Hollo's 'Growth' EP goes to show that it only takes one man to create such epic soundscapes, and I mean soundscapes that the heavyweight acts are creating.

'Growth' starts off with the track 'Eunoia' which sounds much clearer than the debut release upon first listen. This is due to the fact that Sey Hollo has dealt away with the crunchy organs and has replaced them with clean, crisp pianos. The piano builds up in the song, leading into some creepy recorded voice samples, ending the song with a beautiful distorted crescendo. Next up is 'World Trade Center', which gives off an apocalyptic feel. Dark, cold keys make up the majority of the track and voice samples that are very hard to hear help to give off the vibe better. 'Growth' has to be my favorite song on the EP which emulates the first track very well. Piano fills the entire song which then leads into an epic crescendo of sonic proportion. The closer, 'Vita Si Chakula', helps to round out the four-song EP by being the emotionally driven song by Sey Hollo. The 'Growth' EP is definitely for fans of post-rock or instrumental rock in general. The unique part about Sey Hollo is that it is Sebastian Larsson's solo-project, and that he is making music that is just as transcending, if not more, than full-out musical groups. Do yourself a favor and purchase Sey Hollo - Growth (EP).


Sunday, March 20, 2011

Lavinia - There Is Light Between Us

First and foremost, Lavinia are no post-rock supergroup. The four-piece contains current and former members of Caspian, Eksi Ekso, The Burning Paris, On Fire, and The Fatal Flaw. The band signed to Mylene Sheath Records and released their debut album 'There Is Light Between Us' on November 16, 2010. Lavinia cover a whole lot of musical territory in just five songs, and that is an accomplishment in itself.

The album opens with 'Destroy Yourself', which begins with a slow and steady bass introduction and almost whispered vocals. The track follows the typical structuring for many post-rock tracks: quiet to loud, then back to quiet. At the 3:30 mark this song explodes into sonic amplification. 'Destroy Yourself' has one of the most epic crescendo's I have ever heard in post-rock music. Next up is the track 'A Damning Confession'. This track brings ot mind The Cure or The Twilight Sad. It contains a mixture of slow alternative musicianship and melancholic vocals that are kept at low volume. There is a ton of room for the band to release their tight compositions due to the vocals being quiet. The third track, 'Fires', follows a very similar pattern to 'Destroy Yourself'. Slow musical passages layering into epic walls of sound. 'Windmills' gives off a Midwestern feel, relying heavily on slide-guitar. The last track 'Bone and Arrow' is the longest track on the album, clocking in at over seven minutes. This is the most positive sounding song on 'There Is Light Between Us', but still captures that cold and dark element. 'Bone and Arrow' starts off with a hopeful sounding banjo passage which then builds into another song of sonic intensity and then finally levels out with more banjo, giving a positive and hopeful send-off. All I can say is that Lavinia sound like they have been playing together for years and this is only their first album. If they are already pushing the musical boundaries on 'There Is Light Between Us', I can only expect good things for the future of Lavinia.


Tape - Revelationes (2011)

The Swedish trio Tape create simple, yet beautiful, music. Their style is very melodic and the recordings are clean, with very few effects in the mix. Ambient music can sound like you are having a very bad experience when not thought about carefully. It is rare when a band creates such simple music that they can get it to sound monstrous without using all of the add-ons. Brothers Andreas and Johan Berthling and Tomas Hallonsten have a very gentle approach to making clear and relaxing sounds.

Upon first listen, I hear elements of Tortoise (a jazzy, post-rock feel). Tape's new album, Revelationes, is clear and concise music. There are no suprises on this album, nor are there big crescendos like many post-rock albums. The song 'Dust and Light' brings to mind Slint's masterpiece 'Spiderland'. The interesting thing is that even without these epic moments, I never get bored with the album. Simple guitar, jazz drumming, vibraphones, and theramin set the mood for the record, and this is really all that is needed. Revelationes never drags, always remains focused, and what a beautiful album it is to enjoy. Check out the title track 'Revelationes' off of Tape's newest offering 'Revelationes':

Saturday, March 19, 2011

Eksi Ekso - Brown Shark, Red Lion

Eksi Ekso (which means "six outside" in Greek) are an extremely talented trio hailing from Boston, Masachusetts. Originally starting out as a six-piece (hence "six outside"), the band released "I Am Your Bastard Wings" in June of 2008. This album had more of an orchestarted feel than their newest offering "Brown Shark, Red Lion" and this is partly due to the fact that two of the original female members played violins for the album. This is no longer the case. Although "Brown Shark, Red Lion" has a minor orchestrated feel, the album is mainly influenced by post-rock and r&b/soul sensibilities (at least that is what I hear). While "I Am Your Bastard Wings" had a melancholic and gloomy feel to it, "Brown Shark, Red Lion" has more of an upbeat and positive vibe. Many reviewers have been comparing this album to TV on the Radio and Mogwai, and I hear this myself, but Eksi Ekso have brought on a new genre all together (and a good one at that). You can listen to the first three songs of the album by clicking on the Eksi Ekso music player above the blog posts.
The album opens with "Kills Of The Flood Tide", which was released on single vinyl months prior to the album release. This is the first single off of the album and gives off that pop/mainstream single feel upon first listen. All the elements are present (pop vocals, piano, acoustic guitar, etc.) and this song is sure to be enjoyed by anyone that gives it a spin. The next track "Carte de Visite" is my favorite track off of the album and this is where the TV on the Radio and Mogwai influences come in. A music blog that I visit entitled stereotypingmusic.blogspot.com has quoted this song as sounding like "TV on the Radio sprinkled with metal sauteed in Mogwai". I couldn't agree more with this comparison. The vocals sound very similar to TV on the Radio and the electronic glitches sound a lot like Mogwai's "The Sun Smells Too Loud" off of "The Hawk is Howling". These two bands go down in my list of favorites, as does Eksi Ekso, so to be compared but to also have a style of their own is incredible. I am not going to go into details about each song, because I would like for the viewers of this blog, as well as music fans in general, to take a listen on their own. All I can say is that you need to hear this album. If you are a fan of TV on the Radio or Mogwai, good, but that is not why you should listen to this album. You should listen to this album because it draws on a variety of genres and has a complex and unique style of its own.