Like any great album should, Big Light’s full-length debut Animals in Bloom (2010) draws me in more completely with every listen. The songs endlessly unravel as one’s ears open to the nuances. I’ve been enamored with the band since they debuted in San Francisco near the end of 2007 and it’s all in the combination. Skillful songs, prodigious musicianship, and a certain sincerity. It’s the kind of music you want to sit back and take in and also the kind that you want to move to and lose yourself within. It’s the best of all genres, melding the weight of rock, the earnestness of folk, the edginess of indie, and the transcendental psychedelia of jam. The band’s sound is easy to love and hits with an immeasurably depth. As my friend Melissa and I would say to each other back then, “Big Light plays just the kind of music I want to hear.”
From the grittiness of “Triceratops”, to the tenderness of “Departed”, to the touching words, melodies, and guitar riffs of “Rainbow Eyes”, Animals in Bloom gets inside. “Good Time of the Year”’s youth-filled intimacy is undeniable and “Monster” strikes with washes of sound. “Heavy” just tears it all apart. It’s not just the raging guitars that send you to oblivion but the band as a whole progressing, ripping, lying deep within the groove. Unabating until the raging finale moments of “Bonebreaker”, the album is a solid realization of Big Light’s limitless potential. The album’s lyrics are poetic, pensive, inspiring and filled with color. The songs catch inside your head and refuse to let go. It’s intimate and makes you feel included.
The San Francisco foursome features Fred Torphy (lead vocals, guitar, songwriting), Bradly Bifuclo (drums), Steve Adams (bass, vocals) and Jeremy Korpas (lead guitar, vocals). After several shifts in lineup, this band feels like the one Torphy needs to convey what’s inside his head. Torphy’s voice morphs from track to track all the while staying endearing and real. And his guitar solos soar. Bradly Bifulco contributes a strength of foundation and depth that stands out on every song. ALO’s Steve Adams exemplifies what this incredible player can do when offered an alternate existence. And the most recent addition of Jeremy Korpas seals the force of Big Light. Korpus’ ripping playing which has earned him the name “Swordfish”, raised the bar of Big Light’s musicianship, allowing the band to travel where it was ready. A nod to the benefit of timing and luck, Korpas’ inclusion came by chance after needing a place to crash when first moving to SF. By way of a friend he landed on Torphy’s couch and later joined the band. Together these four individuals gesture gratitude to the great bands that inspired them – Dr. Dog, The Slip, Wilco, and My Morning Jacket – yet seamlessly unite to create a sound that is undeniably Big Light.
Yesterday, I got to chat with songwriter Fred Torphy about the album…
How does the current state of Big Light compare to what you imagined when you originally formed the band?
Torphy: Probably closer to what I imagined it being. More professional and cohesive and focused. That was something we had to work for, a permanent lineup. You saw a lot us in the formative days. It was sprawling then and you never knew who was actually going to play. That was always really hard to deal with as a bandleader. All the coming and going of the personal and getting the band staffed probably. You don’t want to push any of those things. It needs to happen on its own. Give it time. That happening was cool. I’m just stoked that it’s where it’s at right now. And that we are more lean and mean. More focused.
Are there any unseen insights into the album that you want to share?
Torphy: Mechanically we got really experimental and went deep. There are sounds you might not hear unless you’re listening on headphones. There are all of these undercurrents of noise that prevail from the beginning to the end. We capture sounds that aren’t musical in some senses. Detuning ukuleles or dropping an amplifier on the ground so that it makes a crazy thunderous sound. We put ghosts in the recording so that they could be heard later when someone is listening a little closer.
The one thing that probably nobody one knows is that there’s one guitar amp that we ended up using for 90% of the record that we got from this dude who lives in an apartment that’s next to the studio where we recorded. He’s this guy Kidd Candelario, Jerry Garcia’s right hand man for like 30 years, his guitar tech and all this stuff, and he has a bunch Jerry Garcia’s old gear. He gave us this Fender Twin that had belonged to Jerry and that Jerry used on stage for a really long time. We went back and looked at pictures and saw this thing. We had this modified Fender Twin that was Jerry Garcia’s primary guitar amp and we used it in every situation imaginable because it was cool… it sounded so different from everything else because it was modified for him. It was really loud and you could do crazy shit with it. It was fun playing with that thing. The history, recording the album in San Francisco… We’re not a Grateful Dead leaning band at all in any respect. I mean we like improvisation, we love that band, but they aren’t a model for Big Light in any way. But we did love using that guitar amplifier to make all the cool guitar sounds.
Who’s singing the words before the chorus on “Rainbow Eyes”?
Torphy: We call that the “gang vocal”. Our friend Ty Roberts and his family, Sabrina & Ted, Chris Joseph, Ray (Bradly’s wife)… There are probably 40 voices. We threw a whiskey and pizza party one night in the studio and invited our supporters and friends and asked them all to yell “rainbow eyes”.
Below is a teaser for Animals in Bloom featuring studio and tour footage and clips from their December ‘09 performance at San Francisco’s Fillmore Auditorium, all set to an excerpt of the new track “Triceratops”.
For Big Light, club dates have translated into high profile gigs, including appearances at Outside Lands, Noise Pop, Wanderlust, and High Sierra and at renowned California venues such as the Troubadour and The Roxy in Los Angeles and The Fillmore in San Francisco. They’ve also been placed on bills with Spoon, Broken Social Scene, The Mother Hips, Dead Confederate, Surprise Me Mr. Davis, Everest and Howlin Rain. As a fan from the beginning, it’s truly exciting to stand back and watch Big Light constantly progress and evolve at such an electrifying rate and receive due recognition for their musical journeys. Big Light’s CD Release tour for Animals in Bloom kicks off with a performance at San Francisco’s Independent on March 4th (TODAY!).
Mar 4 – The Independent, San Francisco, CA – Animals In Bloom Release Party w/ Guns for San Sebastian and Everest
Mar 5 – 50/50 Brewery, Truckee, CA
Mar 11 – The Saint, Asbury Park, NJ
Mar 13 – Sullivan Hall, New York, NY
Mar 17,18,19,20 – SXSW, Austin, TX
Apr 8 – Crystal Bay Casino, Crystal Bay, NV
Apr 16 – Cooper’s, Nevada City, CA
Apr 17 – South Lake Tahoe Earth Day Festival, South Lake Tahoe, CA
July 1,2,3,4 – High Sierra Music Festival, Quincy, CA
Animals in Bloom is for sale on the Big Light’s website, at Amazon, and on iTunes where you can download the added bonus track of “Piece Together Wings”, co-written with Nathan Moore and featuring Dan Lebowitz (ALO) on pedal steel. Jeremiah Kille of Conspiracy Surfboards created the memorable album artwork for Animals in Bloom. Check out more of Jeremiah’s work.
It seems the Swedes have cornered the market on innovative, ambient electro pop. The intentionally cryptic new group jj are another example of this breath of fresh air. The group fuses lushly atmospheric electro-pop and world music with sultry female vocals to create a rather exotic sound. What results is irresistibly beautiful and blissful.
The duo released their debut single jj n° 1 in early 2009 and several months later released their stylistically brilliant debut album jj n° 2. It’s a short opus of nine tracks of island infused synth pop, akin to the music of fellow label mates The Tough Alliance. But the duo emerges on the softer side due to the pervasive lush vocals of Elin Kastlander. Like their peers, jj show a propensity towards sampling, irritable pop hooks, and stylistic diversity to create something gorgeously intricate that shows admiration for both the expansive realms of world music and minimalistic electro-pop. jj sit aside The Tough Alliance and Air France, on one of Sweden’s best and most consistent labels, Sincerely Yours, founded by TTA in 2006.
jj’s dance pop is built on ethereal string and synth samples along with exquisite vocals that float freely through their tracks. The songs are deceptively simple, incorporating a vast array of musical influences from reggae to electronica, new age to hip-hop. The dream-like quality of Elin’s voice is lusciously smooth and textured taking the music even further.
The group’s full-length debut jj n° 2 changes styles slightly with every song, which makes listening to the 27 minute album an unpredictable yet alluring experience. Even when they explore 90’s ambient-house, they still allow emotion to flood through the textures. jj expand on the reach of ambient music — defined, as Brian Eno once did, as music that “suggests, a place, a landscape, a soundworld which you inhabit” — offering it a new essence .
“Things Will Never Be Again” opens jj nº 2 sounding much like The Tough Alliance, tying together synth samples of steel drums and MIDI Strings, with Elin’s low vocal tones and harmonies. “From Africa to Malaga” is by far my favorite track with Elin’s celestial, reverb-effected vocals riding atop synthy Caribbean percussion. The sounds wash over you and the winds referenced sweep you up into a blissful state of ecstasy. “Ecstasy” unexpectedly drops a sample of Lil Wayne’s “Lollipop” creating a track that is trippy and drug-hazy, turning the sound of the album drastically on a pin. (jj released another track with a Weezy sample in January, titled “My Way”. ) Later the album moves into more lilting folk-pop, and further into the laughing and hammer-dulcimer sampling “Intermezzo”. With jj nº 2, the duo created a visionary new sound that is bound to generate more buzz in 2010.
Fascinatingly, jj has kept to almost absolute internet silence. Seriously, not even a MySpace. Info on jj was literally nonexistent until recently, save for a few cryptic sentences, download links, and blood-splattered album artwork on their label’s site. It seems to have made the music all the more endearing and enchanting. Quite a surge of conversation has lived surrounding the identity of jj. Some rightly thought that it might be a side project of The Tough Alliance or Air France, but the mystery quickly unfolded. The enigmatic jj consists of multi-instrumentalist Joakim Benon and vocalist Elin Kastlander. The story almost ends there for now, although I did come across a fabulous interview with jj published on the Drumming On Tabletops blog several weeks ago. Here are a few excerpts.
Where does the name “jj” come from?
jag & joakim. joakim & jag. (”jag” means me or myself in Swedish)
What’s the plan for live shows? Did you originally ever expect to perform live? I ask that because it seems (from the various YouTube videos I’ve watched anyways) that the stage show is really based around the recorded music and projected images rather than the typical “live performance”.
We have grand plans for our public executions, it will be magic, soon enough. Now when we’re out there Elin is just trying to get over her social phobia and anxiety. She sings for her life, as always. And I’m (Joakim) trying to learn everything I recorded, and decide if I should play the guitar solo or the piano, the drums or the flute, or maybe get someone else to do it; so many decisions. Maybe we’ll get James Cameron to do the visuals, and perhaps Kanye will have some ideas. Whatever we do I hope people will understand that being on stage is a fucked up situation in the first place, where everything can happen: you can live more than you’ve ever lived or be wanting to die, feeling things will never be the same again.
The newest album, jj nº 3 has already leaked online. What does it feel like to have to deal with a leak? Do you mind it considering that almost every album leaks online now before the release date?
Beautiful, sad, scary, nice, confusing. It (jj nº 3) should’ve been released in September though, so it’s all good. A slightly fairer chance for anyone to keep up with us.
How much are drugs involved with your music (the song ecstasy, the pot leaf on the cover of jj nº 2)? Do you feel like the two can be separated or are they intertwined?
Our music is dope, you know that.
In December, jj signed with the indie label Secretly Canadian who will release the duo’s next LP, jj nº 3, in the U.S on March 9th in conjunction with the release on Sincerely Yours in Sweden. Following, they are set to perform 14 American dates with fellow lowercase, double-lettered electro group, The xx. These shows, along with SXSW, mark the first U.S. live appearances ever for jj.
JJ tour dates:
3/22 – Spanish Moon, Baton Rouge, LA w/ The xx
3/23 – Bottletree, Birmingham, AL
3/24 – Variety Playhouse, Atlanta, GA w/ The xx
3/25 – Cat’s Cradle, Carrboro, NC w/ The xx
3/28 – Sixth & I Historic Synagogue, Washington, DC w/ The xx
3/29 – First Unitarian Church Sanctuary, Philadelphia, PA w/ The xx
3/30 – Knitting Factory, Brooklyn, NY
3/31 – Webster Hall, New York, NY
4/2 – Paradise, Boston, MA w/ The xx
4/3 – Le National, Montreal, QC w/ The xx
4/4 – Lee’s Palace, Toronto, ON
4/5 – Wexner Center, Columbus, OH w/ The xx
4/6 – Buskirk-Chumley Theater, Bloomington, IN w/ The xx
4/8 – Lincoln Hall, Chicago, IL w/ The xx
4/9 – Varsity Theater, Minneapolis, MN w/ The xx
4/12 – The Nightlight Lounge, Bellingham, WA w/ The xx
4/13 – Commodore Ballroom, Vancouver, BC w/ The xx
4/14 – Crystal Ballroom, Portland, OR w/ The xx
4/16 – Bottom of the Hill, San Francisco, CA
Denver-based songwriter/singer/musician, John Common and his band, Blinding Flashes of Lights, will be debuting their new record, entitled Beautiful Empty, at Casselman’s in Denver, CO on January 16th, 2010. The CD release will be a collaborative event that offers independent music, film and visual art, all related to and inspired by the new record. The band features John Common (vocals/guitar/keys), Jess DeNicola (vocals), Wes Michaels (cello/sax), Adam Revell (keys), Jimmy Stofer (bass/vocals) and Carl Sorensen (drums). The band will be joined on stage by a string section and other musical guests. Also playing that night are two popular Colorado artists, both who are superb: Achille Lauro and Danielle Ate the Sandwich.
Tickets are $15 presale and include an exclusive bonus EP (digital download), a copy of the new CD (given at the door) and other surprises on the night of the show. Tickets are $20 day of show and come with a copy of the new CD and the fabulous surprises, but no bonus track.
Earlier this fall a collaborative short film festival was organized for this event, named the Beautiful Empty Short Film Conspiracy. A call went out to Colorado-based independent filmmakers who shot and submitted their short films, all inspired by and incorporating songs from Beautiful Empty. A handful of the most interesting short films will be shown throughout the night of the CD release.
The event will also feature box art by 60 artists from across the U.S. who were invited to create unique works of art inspired by what would eventually become the new record, Beautiful Empty. Each artist was sent a simple wooden box, along with early stage lyrics, images and music. They then mixed it all together into a beautiful collaboration called the Common Box Project. The final exhibit of the Common Box Project will happen the night of the CD release inside the venue. For more information visit .
Date: Saturday, January 16th, 2010 Location: Casselman’s Bar and Venue (26th and Walnut, Denver, CO) Music: John Common & Blinding Flashes of Light, Achille Lauro, Danielle Ate the Sandwich Film: The Beautiful Empty Short Film Conspiracy Art Exhibit: The Common Box Project Tickets: $15 presale / $20 day of show. Price of ticket includes a copy of the new CD, other surprises and an exclusive bonus EP (digital download) for those who buy tickets in advance Doors: 7pm / Show starts at 7:30pm Ages: 21+ Buy tickets:Casselman’s | John Common
Listen to some gorgeous tracks off the new album. It is thoughfully written and the vocal harmonies between Common and DeNicola are almost as stunning here as they are live.
Panda Bear – Person Pitch (2007)
This album delicately led me by the arm towards Animal Collective, when I was confounded by how strange it was. 2007 saw me doing yoga to Person Pitch almost every day, allowing me to sink into what Panda Bear and, as a result, what the whole AC crew had to offer. Person Pitch is simultaneously poppy and abstract, winsome and deranging, creating elaborate and magnificent convoluted sonic collages. mp3: Panda Bear – Comfy in Nautica mp3: Panda Bear – Bros mp3: Panda Bear – Good Girl/Carrots Download Person Pitch MySpace | Website
Lily Allen – Alright, Still (2007)
This album had me rocking out in my car during many of those 2007 summer months. Allen’s smart alec, sassy attitude is emphatic. Her explosion on the scene as one of Britain’s superstars might put off some, but it’s hard not fall for her well produced brand of bouncy, horn heavy, ska-inspired pop.
Check out “Smile”, “LDN”, “Nan You’re A Window Shopper” – explicit! (can’t post!) Download Alright, Still MySpace | Website
Brett Dennen – Hope for the Hopeless (2008)
Brett Dennen inspires me. His lyrics are entirely well considered and thought provoking, and his positive, dynamic melodies are hard to deny. “Make You Crazy”, featuring Femi Kuti, is the true gem here, gorgeous in it’s entirety, speaking about our untrustable government, prisons, child soldiers, and how people treat each other to get ahead. The songs soar, speaking of love, hope, home and peace. “San Francisco” is thoroughly nostalgic especially if you’ve taken any time to get to know Dennen’s amazing city. mp3: Brett Dennen – Make You Crazy mp3: Brett Dennen – Wrong About Me mp3: Brett Dennen – San Francisco Download Hope For The Hopeless MySpace | Website
Animal Collective – Merriweather Post Pavilion (2009)
By far my favorite release of the year. Since their inception, Animal Collective has wandered the territorial edges of music, seeking out boundaries previously erected and looking beyond them. They’ve imbued gorgeous indie songs with peculiar vocals and irritating noises, contrasted West African rhythms with British folk melodies, and have hung on a single chord for what seems like eternity. Merriweather feels like a culmination of all of these explorations, achieving a sound that is both accessible and thoroughly innovative. Finally an Animal Collective album that I’m moved to listen to all the way through -hooky and pop drenched in swirls of psychedelia, heavy with sonic texture. mp3: Animal Collective – My Girls mp3: Animal Collective – Summertime Clothes mp3: Animal Collective – Brothersport Download Merriweather Post Pavilion MySpace | Website
Phoenix – Wolfgang Amadeus Phoenix (2009)
The danceable, catching indie rock of Phoenix is perfectly featured on their newest release. The tight grooves of the band’s electrifying synth pop flow loudly behind Thomas Mars’ smooth and all the while urgent vocals. Wolfgang is brilliantly sleek with sonic texture, putting the band on the map as one of the most exciting groups to blow up stateside this year. mp3: Phoenix – Lisztomania mp3: Phoenix – 1901 mp3: Phoenix – Lasso Download Wolfgang Amadeus Phoenix MySpace | Website
Built to Spill – There Is No Enemy (2009)
On There is No Enemy, Built to Spill investigates an aesthetic they’ve created and honed over the years, revolving around Doug Martsch’s soft, yet penetrating vocals swimming in a bath of refracting guitar tones. The band again finds a new and interesting way to approach their sound making this my favorite BTS album since 1999’s Keep It Like A Secret. mp3: Built to Spill – Aisle 13 mp3: Built to Spill – Hindsight mp3: Built to Spill – Nowhere Lullaby Download There Is No Enemy MySpace | Website
Ray LaMontagne – Trouble (2003)
When Trouble came out it was hard not to become overwhelmed by the power and depth of Ray LaMontagne. The title track is entirely timeless, instantly bringing on comparisons to Van Morrison and Otis Redding, with Ray’s rich and impassioned vocals rising above perfectly nuanced guitars and strings, echoing his quietly devastating meditations on life and love which is the soul of this release. mp3: Ray LaMontagne – Trouble mp3: Ray LaMontagne – Forever My Friend mp3: Ray LaMontagne – How Come Download Trouble MySpace | Website
My Morning Jacket – Z (2005)
When Z came out all I wanted was wrap myself in the sonic blissfulness of “Wordless Chorus”. MMJ’s 4th album sees the band proceeding forward without fear or shame, shaping a sound distinctly their own. Fiery guitar, folk-inspired melodies, soaring rock passages, and psychedelic flashes marry sublimely with Jim James’ legendary vocals. mp3: My Morning Jacket – Wordless Chorus mp3: My Morning Jacket – It Beats 4 U mp3: My Morning Jacket – Off The Record Buy Z MySpace | Website
I’m late on getting you my list of the best albums of the decade, but it’s taken some time to dig through all of the incredible pieces of work that we’ve been hit with over the past 10 years. Since 2000, my ears have become keen to the inner workings of song and sound and it is partly due to the music below that I listen the way that I do. This decade has been an exhilarating one with bands like Animal Collective, Modest Mouse, Broken Social Scene, Death Cab For Cutie, and Sigur Ros solidifying their reach with monumental releases, and acts like Amy Winehouse, Norah Jones, Ray LaMontagne, Vampire Weekend and Bon Iver astonishing listeners with their debuts. I can’t resist including a few albums from smaller artists that are personal favorites, those of Leslie Helpert and The Slip. Dive in.
Zero 7 – Simple Things (2001)
The album combines an alluring mixture of sounds – electronica, jazz, soul, world music – featuring three talented vocalists (Mozez, Sia Furler, and Sophie Baker) to ride the top of these Air-like waves amid deep compositional swirls. mp3: Zero 7 – I Have Seen mp3: Zero 7 – Destiny mp3: Zero 7 – Likufanele Download Simple Things MySpace | Website
The alt-country indie rock of These United States has a way drawing you in. Lead singer Jesse Elliot’s sultry, twangy croon drives each song, riding upon the band’s velvety slide-guitar laden version of Americana. It’s his laid-back charm that is both heartfelt and open, along with the sophisticated, seasoned sound of the band that catches. At moments I hear Tom Petty, but the closest comparison I can find in current music, is that of Delta Spirit.
Elliot’s writing process arises from his interest in the English language and his desire to create narrative arcs. The songs are filled with stories and characters that reference everything from Custer, Johnny Appleseed, and Jesse James, to Mark Twain and Tecumseh. Elliot conjures up ideas of saddle-riding sinners and silent heroes, all the while loquaciously commenting on everyday existence. As Elliot told NPR, “I’m a big fan of aesthetics, of just the way words sound, the way that phrases string together, the way that we use language.” And referencing the writing process, “It’s a way of coping with the serious amount of information that exists in the world these days. Stitching it together in some big, chaotic patchwork is kind of how I make sense of all the pieces that are flying our way and everyone’s way every day.” The songs are hopeful and demonstrate that These United States are still discovering pieces of gold in our dispirited country.
The band calls both Lexington, Kentucky and Washington, DC home. Elliot is both the founding and core member, filling out his vision with musicians and friends from both locales. He originally formed the group with David Strackany, who records as a singer-songwriter under the name Paleo. In just two years, the band has played 500 plus shows across the U.S., U.K., and northern Europe and appeared at SXSW, the CMJ Music Marathon, and the U.K.’s prestigious Glastonbury Festival.
With their third full-length release in 18 months, These United States are flowing with creative output. Each meticulously crafted album reveals a variety of musical approaches and the care that went into the recording process. They explore a variety of sounds, all riding within enticing southern-edged rock, sometimes soft and subtle, always filled with a sense of well-intentioned urgency. A Picture of the Three of Us at the Gate to the Garden of Eden was recorded by Elliott and Strackany in basements and hallways in Elgin, IL, Iowa City, IA, Washington, D.C., and Chicago, IL. Picture was released March 4, 2008 and just 6 weeks later, the band was in a Lexington recording Crimes as they had more material they wanted to work with. Crimes came out that September and received praise from Paste Magazine, Pitchfork Media, and NPR, despite (and in many cases because of) its sonic departure from the group’s debut. In February 2009, the band began recording its third album, Everything Touches Everything, in Arlington, VA, released in September 2009.
Leslie Helpert perfectly embodies my idea of an artist. She is beautifully quirky, speaks in a language of images, tells you about imaginary friends, and is keen to all that makes life potent. She lives inside of her art and isn’t meant to do much else. Throwing herself into the act of creation, she offers herself as poet, guitarist, songbird, novelist, dancer, and artist (the gorgeous image at the top of Lux Illuminates is hers).
Watching Helpert perform is a captivating, emotional experience. Her body is stirred by the movement of her song, adding bottomless depth to the art she offers.
The American songstress has rendered 5 albums in the last decade, all which resound with her artistry. Ulu is her most recent effort, a 4-song EP recorded in Barcelona with producer Dave Bianchi. Enticed by intuition, Helpert left the states in March for a 6-week tour from Rome to Paris. She was compelled to delay her return and through a series of serendipitous events encountered Bianchi and found herself recording in Barcelona for the month of August. Ulu (December 2009) was then crafted and released on Bianchi’s Barcelona/NYC label “Whatabout Music”.
On Ulu, Helpert conspired with musicians from Spain, Greece, Guinea, Israel, Portugal and California to add cello, harp, Gaida (Greek bagpipes), upright and electric basses, vocals, trumpet and drum-kit to her musings. Helpert’s musicality comes through on the release in the form of guitar, Rhodes piano, electric bass, percussion, beatboxing, and her effusive vocals.
Throughout Ulu, Helpert draws you in with her intoxicating style, using music a modality to deliver art into the moment. “Young Coconut Water”, the EP’s single, embodies this dreamy elegance. As in all of my favorite compositions by the one known as Serpentfly, the song travels through a variety of sections, illustrating the complexity of Helpert’s unique writing style. Soaring horns lift the song up as she wails, woven with nectar-filled harmonies and cymbal crashes.
The rest of the tracks of Ulu are sophisticated and intimate. They capture the potential of this wistful siren, carrying the intelligent listener into a world of living poetry and detailed narrative. Helpert explores the rich timbre of her voice, embodying at once punk music and the sounds of a distant time. Rhythmic lyric and melancholy balladry are accompanied by innovative drumming, sumptuous strings, and evocative vocalizations.
2009 has seen Helpert trying her songs on the keen ears of Europe in small rooms and large theaters throughout Italy, France, Spain, Holland, and England. December still finds Helpert in the romantic lands of Europe.
Below is “Young Coconut Water” along with a few of my favorites from previous releases.
Young Coconut Water
It just so happened, when we were each-others,
We pricked our fingers and became blood brothers.
It was an accident, really, kids climbing on barbed wire,
to go feed the colts little bombs on fire.
And, then again, when we were older,
By coincidence met ice-climbing frozen boulders.
We both anchored the pick-ax and by surprise,
It struck simultaneously in each of our sides,
And so this time we became blood sisters.
I’m your Type A when you’re needing transfusion,
And you’re not to blame, it’s both our confusion.
I, too, walk away like god’s born-again daughter.
Like fresh-pumped-in-the-vein Young Coconut Water,
Ignorant and Ignoble.
Through all adventure, I’ve learned a score.
It’s not your lover you’ve been searching for.
No matter the carriage, the wheel spoke aloud as you drive
They sang it’s not about your lover, this here’s not about your lover.
It’s your genius your longing to keep alive,
It’s your genuis your longing to keep alive.
Animal Collective just released their latest EP, Fall Be Kind. The cohesive 5-song collection speaks to the continuing progression of the group’s sound. Sound effects shimmer throughout the EP and the echoing of Animal Collective’s characteristic otherworldly and layered vocals transport the listener into fantastical realms. This is just what I’ve come to expect from this band. I desire to live in their dream world.
“Graze” begins as a hash-induced lullaby, “Let me begin, feels good ’cause it’s early… some ideas are brewing”, floating into a jubliant swirling of pan flutes. The chorus lures an emphatic sing-a-long. And the end is just mesmerizing as it fades.
I am most infatuated with the stream of consciousness, ethereal vibe of “What Would I Want? Sky”. One is immediately lost in a cloud of thought. Avey Tare’s vocals float above a Grateful Dead sample from “Unbroken Chain” (off Grateful Dead From The Mars Hotel, 1974), widely known as the first ever to be licensed. A clip of Phil Lesh’s vocals “…sky. Whoa I oft-” is looped and somehow reshaped into the title phrase. What results is a gorgeous feat. Near the end of the track, Avey sings “I should be floating but I’m weighted by thinking”, encompassing what Animal Collective has always been about. Ironically, the band coaxes you out of thought and into visceral feeling. Their music is a way for the intelligent mind to let go of anxiety and wrap itself in the complexity of sound instead.
“Bleedings” is not my favorite, but its darkness is beautiful nonetheless.
“On A Highway” follows Avey on another daydream as he travels down the road while the band tours. Singing “I let some hash relax me, get lost in human pleasure,” you can just imagine the feelings he is experiencing in that vehicle. Meditative lyrics and colorful imagery drive the song through a continuous flow of thought. Avey is yet again beset with an racing mind as he sings “…can’t help my brain from thinking. I can’t breathe.”
On the closer, “I Think I Can”, Panda Bear lets loose with jarring rhythms, claps, and array of synthesized samples. It starts out rather eerie but ends up soaring into one of my favorites songs on the EP.
With the Fall Be Kind EP, Panda Bear’s, Avey Tare’s, and Geologist’s brilliance is exposed once again. On the tail of their January 2009 release of the widely acclaimed Merriweather Post Pavilion, this new EP is noticeably less hooky, but no matter as it wraps me up further in Animal Collective and makes me wonder what we’ll hear next. This band perfectly pleases the mind by making a cacophony of sounds sound concordant.
Animal Collective, formed in Baltimore, MD, recently transplanted to NYC….
“What would I want? Sky!”
Is everything alright?
You feeling moany?
You feeling lonely?
You’re not the only
Is everything alright?
You feeling stormy?
You feeling phoney?
You’re not the only
Do you get up up up?
Clouds stop and move above me
Too bad they can’t help me
What is the right way?
Do I float up up up?
When I stop and look around me
Grey is where that color should be
What is the right way?
Old glasses clinking and a
New order’s blinking
and I -
I should be floating but I’m weighted by thinking
That I got on the river
Really can’t make you change
And the sky gets filled up too fast
and the taxi man’s saying, “You betta
give me some money; stop daydreaming, dude!”
When the point of horizon is hiding from you
What would you want sky?
Are you taking it lightly?
Lost in the flurries
You start to worry
You will be buried
Taking it lightly
and so I hurry
I start to worry
Here come them flurries
Is everything alright?
You feeling lonely?
You feeling moldy?
You’re not the only
Is everything alright?
You feeling stormy?
You feeling foamy?
You’re not the only
Do you get up up up?
Clouds stop and move above me
Too bad they can’t help me
What is the right way?
Do I float up up up?
When I stop and look around me
Grey is where that color should be
What is the right way?
Old glasses clinking and a
New order’s blinking and I -
I should be floating but I’m weighted by thinking
I’m a fly on the river
That’ll make me some change
When the sky gets filled up too fast
and the taxi cab’s waiting, “You betta
give him some money;
stop daydreaming, dude!”
When the point of horizon is hiding its blues
What would you want sky?
Built to Spill’s new album, There is No Enemy, brilliantly captures the melodic beauty of these indie rock forefathers. It’s good old, traditional Built to Spill sounding as great as ever. The album is their 7th and the 1st since they released 2006’s You In Reverse, the band’s highest charting album yet. On There is No Enemy, Built to Spill investigates an aesthetic they’ve created and honed over the years, revolving around Doug Martsch’s soft, yet penetrating vocals swimming in a bath of refracting guitar tones. The band again finds a new and interesting way to approach this sound.
Martsch’s lyrics are poignant and inviting. When he sings “Goddammit, things fall apart” on the appropriately titled “Things Fall Apart,” it’s hard not to feel like you understand. And on “Life’s A Dream”, he wisely reflects, “Waste your life/ but you don’t know what it’s worth/ Comb your mind/ For all the treasures of this earth / Too close to find/ anything outside yourself.”
Below are the 3 tracks that lead into There Is No Enemy. The band is currently streaming the entire album on MySpace.
Nowhere Lullaby
Trying not to solve this
Doesn’t mean it’s not that bad
And everyone gets through the night
And everyone wakes up all right
And the fear you feel will pass
Then a calmness that will last
We will learn to drift off fast
Another nowhere lullaby
You can rest or you can try
And this waste it shines in every way
Yeah this waste it shines in every way
Make me laugh every single day
And you hardly make me cry
Made fifteen years fly by
Still here and I don’t know why
Has it been that long
Is the time and the table gone
Hope it’s longer than that now
Don’t forget we don’t know how
And everyone gets feeling down
Everybody understands
We’re all doing what we can
Another nowhere lullaby
You can rest or you can try
And this waste it shines in every way
Yeah this waste it shines in every way
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