The holidays are upon us, and in the spirit of spreading holiday cheer, we've lined up a 12-day series of special offers that you'll only find here. Starting today and continuing through 12/17, we'll unwrap a unique new offer at the start of each day, available for one day only (today's offer: enter to win everything in Lady Gaga's Amazon.com shopping cart!). We've done our best to find something for everyone. Find out about all of our offers by signing up for our daily 12 Days e-mail.
Happy Holidays from all of us here at ChordStrike!
Our friends over at Armchair Commentary posted this awesome video of actor Christopher Walken performing Lady Gaga's "Poker Face." I'm a Lady Gaga fan, but I have to say--nobody does it like Christopher Walken. Check out both Walken's version and the original Gaga music video below.
I have to admit, I wasn't quite sure what to expect when I got on the phone with Jerry Cantrell, Mike Inez, and Sean Kinney of Alice in Chains (William DuVall was unfortunately unable to make it, but the guys had plenty of good things to say about their friend and fellow band member.)
I wanted to ask them about Layne Staley, and reforming as a band, and adding a new member (William), and their new album (Black Gives Way to Blue), but I thought they might be tired of answering the same old interview questions. Fortunately, however, conversation flowed freely, and the guys were a lot of fun to chat with. They were genuine, honest, and engaging, and it shows.
What I found most eye-opening was their story of how Black Gives Way to Bluecame into being (it wasn't planned!). Listen to this story and more in the 17-minute interview, and check out song samples from the new album below.
Sometimes, when the world feels like it's too much, you need to stop, breathe, and find a way to regroup. There are many forms of rejuvenation--I've always found mine in yoga, martial arts, or meditation. And I've increasingly found that the right music soothes my frayed nerves like nothing else.
But finding the right music can be tricky, and most new age music is too airy-fairy for my taste. It's thin and whispery, like cotton candy, and I need something solid and whole and grounding. New age music also tends to scare people by conjuring images of droning monks, sleepy piano music, whalesongs, or other nature sounds, or ridiculously cheesy CD covers featuring temples nestled in the clouds or dolphins arcing through the waves.
Fortunately, Kundalini Meditation Musicis none of these things. Featuring seven powerful tracks, this album is instantly calming, and just listening helps me rediscover a sense of balance. The word "kundalini" means "coil" in Sanskrit, and in yoga, the term "kundalini shakti" refers to a coil of energy that lives at the base of the spine. One can awaken this energy through meditation, or yoga, or pranayama (breathing), and cause it to uncoil and journey upward through the spine.
This music is no doubt intended to aid in process of awakening your kundalini energy, but you don't have to be a kundalini practitioner to enjoy it. The album features a number of well-known mantras warmed by just the right touch of instrumental music--soft guitars, a hint of cello and violin, unobtrusive piano, and background harp. But the voices of the singers remain front and center, as they should. The instruments serve to keep each track both texturally and rhythmically interesting, while at the same time remaining appropriately in the background--subtly enhancing, not detracting from, the featured mantra. Again, it's all about balance, and each track delivers. It's not easy to set a mantra (typically sung without instrumental accompaniment) to music--kudos to the arrangers.
My favorite tracks are the regal "Heal (Ra Ma Da Sa)," sung by peace activist Snatam Kaur, "Miracle (Guru Ram Das)" sung by German-Mexican duo Mirabai Ceiba, and "Universe (Universal Gong)" (an intriguing track consisting entirely of gong music), performed by Harijiwan Khalsa. I think the gong track might be my favorite, simply because I had no idea that gongs could create such fascinating, shimmering sounds--it was wholly unique, and somehow deeply grounding. Who knew that a gong could sound so primal, so "earthy"?
While this music is a fitting backdrop to mellow practices like yoga or pilates, it's also suitable for winding down at night, or zoning out during a bus ride home from work, or sitting down to a relaxing dinner. Give it a try, even if the term "new age" tends to make you want to run away. You just might like it.
Now that the ‘80s music revival is in full swing, those of us who were lucky enough to experience the original decade, and who were sad to see its musical demise, have a lot to be thankful for--and nobody has re-imagined the clean, danceable pop of the ‘80s for the new millennium better than British synthophiles La Roux. Sporting artistic influences of the highest
order, including Prince’s dark electro funk, Eurythmics’ shocking visual and
melodic style, and a heavy dose of the sharp songwriting and synthtastic soundsof Yaz (or Yazoo to you Brits) , the team of
Elly Jackson and Ben Langmaid have created an anachronistic gem of an album
that’s so strong, it could have brought back the ‘80s all on its own.
So much synthpop from past decades, as well as from today,
has a plastic, disposable feel to it, and truly, much of it is just that—but
not La Roux. What’s so salient about this debut release is not only its sharp attention
to sonic detail and stylistic flair, but, as with all of the best pop music, its
top-tier songwriting. These songs are catchy, deeply felt, full of attitude,
and just the right length. Every listen leaves me begging for the back button, and
check my iTunes library—of all the records I’ve loved and obsessed over this
year, nothing has had more play than La Roux. Tracks like “Bulletproof” are
undeniable, amplifying the most ‘80s elements of the ‘80s into a distilled and
concentrated dose of thoughtful, dark, pop perfection that feel like they’d be perfect
for everything from exercising and dancing to road-tripping and relaxing.
But honestly, you don’t need to be a fan of ‘80s music, or
even pop to appreciate what this album really is—a timeless, quality work of
art created by talented people who feel what they’re doing so much that every synthesized
note feels completely natural.
Check out La Roux's video for their latest single, "I'm Not Your Toy," as well as the classic "Bulletproof," below.
Earlier this summer, on one of the hottest days in the history of Seattle, I sat down with Mercury Prize-nominated artist Elly Jackson, half of British electronic pop sensation La Roux, before one of just a handful of stateside club shows she played prior to her band's domestic release. With her partner-in-music Ben Langmaid, the 21-year-old Ms. Jackson has created one of my favorite records of the year, La Roux's self-titled debut, which made its much-anticipated appearance on American shores just this week.
With a bevy of UK top 10 singles ("Bulletproof," "In For The Kill," "Quicksand"), critical acclaim, and superstar status across the pond, La Roux is poised to make a big splash here in the states. We talked about songwriting, the '80s, and the band's international potential, among other things. Check out the interview below.
Every now and again, I get super obsessed with a record, and this week belongs to Chandra. I first heard Chandra years ago, when I was writing for a website that reviews bizarre, hip, and unique vinyl finds called Waxidermy. Someone had happened upon a copy of this long out-of-print (circa 1980) gem of an EP, Transportation, and shared some MP3s. When I heard the tracks, I was totally floored.
Why, you ask?
Because Chandra Oppenheim is (well, was) a 12-year-old girl dynamically and powerfully fronting a no-wave/experimental disco band (think early Talking Heads or B-52's, only weirder) that sounds as confrontational, dissonant, beautiful, and odd as any of the work out of the active NYC no wave/noise scene of the day. Beyond that, these were her own compositions, with subjects ranging from the city's confusing subway system, to a girl named Kate "who thinks she's really great, but she's not." (Ever since my first exposure to this song, every time I meet someone named Kate, these are the first words that come to my mind.) Hearing these well-written, exceptional tracks was, as they say on Waxidermy, "face-melting."
Is this children's music? Electronic? Post-punk? Experimental? Pop? The answer is yes.
Somehow, I missed the re-issue of the Transportation EP late last year, but I'm sure glad I discovered it now, even if a few months late! Now with four additional tracks (from a 14-year-old Chandra) tacked on, the EP sounds better than ever. The newer tracks are more accessible, and she's accompanied by an all-teen backing band to boot. Although Chandra abandoned her band to focus on school before these bonus tracks could be released, it's a thrill to get to hear them now.
Oh, how I wish I lived in a world where the Chandras of world replaced the Miley Cyruses, Selena Gomezes and Demi Lovatos.
It would sure be a lot different.
Check out some tracks below, and let me know what you think.
It's 09/09/09, and, here in Seattle, Beatles Day is winding down. I'm exhausted and elated, but most of all, I'm in awe.
Working on the Beatles has been a bit of a head trip, and not in the way you might think. I was beyond excited when I learned that the remastered catalog was going to be released, but I quickly discovered that my excitement for the remasters, not to mention my love for the Beatles, both paled in comparison with the enthusiasm, devotion, and somewhat mind-blowing level of knowledge displayed by the Beatles fans in our discussion forums.
Everyone knows that the Beatles are iconic. Everyone knows that the Beatles were instrumental in shaping rock music as we know it today. But working on the Beatles remasters has shown me that I never fully understood the breadth of their appeal, nor did I grasp the extent to which we as a society have integrated the Fab Four into our collective cultural fabric.
Normally, I tend to eschew any form of hype. But in the case of the Beatles remasters, the "hype" (if you can even call it that) had a different quality to it. The excitement surrounding the Beatles felt "pure," somehow, and legitimate: true fans doing what fans do best: exchanging opinions, sharing knowledge, and expressing their love and appreciation for the Fab Four and the music.
So, as Beatles Day winds to a close, I'll say what I never thought I'd say: in this case, I believe the hype. Happy Beatles Day, everyone.
First, an apology—I was supposed to post this yesterday, but
time got away from me, and “World Music Wednesday” has become…“World Music
Thursday.”At least this week.
Anyway, I was perusing our free world music MP3
samplers yesterday evening, and the first one that I happened to download was Alula’s Celtic
Sampler Summer 2009.I was wary at first
(I’m picky about my celtic music!), but
it turned out to be a lovely collection, and I decided that I had to write about it.
I’ve always loved celtic music.I’ve had a thing for celtic
mythology ever since I was little, and traditional celtic tunes are full of stories.When I think of celtic music, I still have romantic
visions spring to mind—of wandering bards, mummers, and céilidhs.My love for celtic music deepened when I lived in France; I
would make regular jaunts over to Brittany, where I’d sit in dark pubs, soaking up live music over tangy cider brut
and a savory buckwheat galette.
So it’s no wonder that celtic music has remained lodged in
my psyche.Celtic music is difficult to define
accurately, since the term itself is extremely broad and general (kind of like “world
music.”)For the purposes of this post, I’ll
define celtic music as the music of the Celtic Nations (Ireland,
Scotland, the the Isle of Man, Wales, Cornwall (southwestern England), Brittany (western France), and Galicia (northwestern Spain).
In researching celtic music, I discovered that it’s far more
complex than I have space to describe here (sadly), so for the time being, I’ll
provide you with a brief synopsis of Irish music, since much of the music on
the Alula sampler is based on traditional Irish music.
Many Irish folk songs originated in rural areas and evolved
over time.The human voice is an
important component of Irish music, and one of the most prevalent styles of
traditional Irish vocal singing is known as sean-nós
(“old style.”)Sean-nós singers have marvelously flexible voices, and their vocals
normally soar and dip, creating a pure, haunting, and melodically rich listening
experience.
Instruments used in Irish music include the Irish harp, the bodhrán (a drum with a goatskin frame), uilleann
pipes, the tin whistle, the fiddle and the accordion.I’m partial to the fiddle and tin whistle, both of which feature in the
sampler.Download it free (for a limited time only), and
check out all the free samplers here.
--Bri Nguyen
August is an exciting month here at ChordStrike. We've put together our World Music Event and our editors’ picks for the 100 Greatest World Music Albums of All Time, and in honor of these internationally-themed
occasions (and frankly because I’ll use any excuse to blog about world
music), I’ve created a month-long miniseries of blog posts called
“World Music Wednesdays." Each Wednesday this month, I’ll highlight a
different genre of world music. Suggestions welcome!
The 'Net's been buzzing this month with the release of Modest Mouse's music video for "King Rat," off their recent EP, No One's First and You're Next. This video was conceived by late actor Heath Ledger, who received a director's credit. It's a somewhat creepy animated vid--Ledger made it to protest the illegal commercial whale hunts that take place off the coast of Australia. In an eerie turning-of-the-tables, the vid depicts a crew of whales hunting humans in order to make pet food. It makes my skin crawl, but it's sobering, not to mention effective. Check it out.
I am, quite frankly, surprised by this. "Boom Boom Pow" and "I Gotta Feeling" are good songs, but really? Number 1? Record-breaking?
Don't get me wrong--I like the Black Eyed Peas' music. I just don't get why these songs have such broad appeal. Yes, they're good party songs, and they're fun to dance to. Is this why people like them so much?
I personally prefer the Peas' more socially-conscious early work, like their debut album, Behind the Front and their sophomore title, Bridging the Gap. I like music that explores social and cultural themes, that touches me in some way, that makes me think. But I admit that too much thinking can get old. Maybe, when it comes down to it, most people just want to forget everything and dance--hence the Peas' most recent success on the charts.
Mono, stereo, or both? Or, to put it simply: how do you want to listen to your Beatles?
If you're a Beatles fan, chances are you know what I mean. I'm referring to the Beatles remasters, which are slated for worldwide release on 09/09/09. Along with the individual albums, there will be two box sets released: a mono box set and a stereo box set. Ever since this news hit the 'Net, our Beatles discussion forums have been buzzing with activity. Most people want to know the following: how will the remasters sound, what exactly went into the remastering process, and what are the key differences between the mono and stereo versions?
We were wondering the same thing, so our resident sound expert and Beatles aficionado Hugo Munday sat down with Abbey Road engineers Allan Rouse and Paul Hicks to learn more about the remasters and how they were produced. Check out the interview below--it's a pretty cool listen for any Beatles fan.
This week’s installment of World Music Wednesdays comes courtesy of my fellow ChordStriker Alan Wiley, who came across the video below while burning the midnight oil earlier this week. He sent it to me, and I was so intrigued that I immediately scrapped what I'd been planning to write about in favor of this vid. It’s amazingly cool.
I wasn’t able to find much background info on the video, but I did discover this much: it was made by French ethnomusicologist Hugo Zemp in Malaita (one of the Solomon Islands.) The people in the video are from the 'Are 'are ethnic group, which is known for complex panpipe music. Originally, the ‘Are ’are produced music by striking hollow bamboo sticks of varying sizes on coconut shells, but this method has evolved over time (in the video, the players strike bamboo sticks on rocks, and my research has revealed that the 'Are 'are also play panpipes by blowing into them.) This method of music-making might seem simple, but it’s really quite complex; as you can see in the video, players harmonize with one another, and single players can grip multiple bamboo pipes with their fingers and toes in order to produce multiple notes at once.
If you like world music or watching videos on the web, chances are you’ve heard a sampling of music from Malaita before. Electronic/new age duo Deep Forest used a vocal sample from a recording made by Zemp in their 1992-93 hit, “Sweet Lullaby.” Zemp’s original recording features a woman named Afunakwa singing a traditional lullaby called “Rorogwela.” “Sweet Lullaby” was popularized in 2005 when it was used as the background music for two viral videos made by Matt Harding (of Where the Hell is Matt? fame.) Check out one of Matt’s awesome dancing vids below. Yes, they've been around for a few years, but I still love watching them. They somehow exemplify what world music means to me--discovery, joy, celebration...I could go on and on.
--Bri Nguyen
August is an exciting month here at ChordStrike. We've put together our World Music Event and our editors’ picks for the 100 Greatest World Music Albums of All Time, and in honor of these internationally-themed
occasions (and frankly because I’ll use any excuse to blog about world
music), I’ve created a month-long miniseries of blog posts called
“World Music Wednesdays." Each Wednesday this month, I’ll highlight a
different genre of world music. Suggestions welcome!
It was muddy, organic, idyllic, and iconic. From August 15 - 18, 1969, thousands of blissed-out hippies, bohemians, workers, artists, students, and music lovers congregated on Max Yasgur's 600 acre dairy farm in Bethel, NY for three days (and then some) of peace and music. Here at ChordStrike, we celebrate the 40th anniversary of one of rock and roll's most pivotal events with our Woodstock Store. Visit the store to watch videos, listen to music, discuss Woodstock with other fans, and relive a truly defining moment in musical history.
Because I harbor a secret desire to be a flamenco dancer, and because I have an ardent love of Spanish poet and playwright Federico García Lorca (a celebrator and composer of flamenco music himself), I’ve decided to write about flamenco for this week’s installment of World Music Wednesdays.
I’ve attended a couple of local flamenco performances in the past few months, and each time I’ve found myself wholly captivated by the fiery passion of the music and dance. I come away from every performance with images flashing in my mind’s eye—the guitarists’ nimble fingers, the dancers’ swirling skirts and seductive eyes, the staccato sound of stomping reverberating in my ears. Flamenco is, to me, an enticing dichotomy—an explosion of energy channeled into precise steps and elegant movements, a whirling, stylized maelstrom of mystery and drama. I love flamenco, but it frustrates me; watching it makes me feel like I’m witnessing some sort of wild force that’s being tamed and controlled and held in check--but just barely. It keeps me on the edge of my seat, and yet I'm constantly on the verge of leaping up and letting loose.
Flamenco is said to have developed out of the Gypsy (Gitano) culture of Andalusia (a region in southern Spain) in the 16th century, although it was most likely shaped by Arabic, Jewish, Christian, and Andalusian folk musical traditions as well. Over the next few centuries, however, flamenco became almost exclusively associated with the Gypsies, and was largely overlooked by the wealthy upper class. During its “golden age” (1869 – 1910) however, flamenco thrived as an art form. Musicians and dancers honed their craft by performing in “music cafes” (cafés cantantes), and flamenco guitar became a celebrated genre in its own right.
Flamenco in its basic form consists of three primary elements: el cante (the song), el baile (the dance), and la guitarra (the guitar, popularized worldwide by such virtuosos as Paco de Lucía.) The interplay between a flamenco guitarist, singer, and dancer is a fascinating study in communication, with the guitarist using his/her fingers, the dancer his/her body (stomping feet and languid, twirling hand movements), and the singer his/her voice. Check out some of flamenco performance clips below , and stay tuned for next Wednesday’s post.
August is an exciting month here at ChordStrike. We’re set to launch both our World Music Event and our editors’ picks for the 100 Greatest World Music Albums of All Time in the next few weeks. In honor of these internationally-themed occasions (and frankly because I’ll use any excuse to blog about world music), I’ve created a month-long miniseries of blog posts called “World Music Wednesdays." Each Wednesday this month, I’ll highlight a different genre of world music. Suggestions welcome!
Today’s genre of choice: Tuvan throat singing. I discovered this style of singing, also known as overtone singing, when I was in high school, and I remember being immediately mesmerized by its weird and wild wonderfulness. Eerie, beautiful, and primitive, it was like nothing I’d ever heard before. I felt as if I had suddenly encountered a wild creature, like a panther, in a forest, and was standing motionless before it, half in fear, half in awe and fascination. It was the first time that I’d experienced music as a physical entity—as if the sounds emanating from the singers’ throats were alive and tangible.
And no wonder. Tuvan throat singing is an ancient practice which is believed to be rooted in the shamanic traditions of Tuva, a small, culturally distinct region which is now part of present-day Russia. Centuries ago, before being colonized by China, Mongolia, and Russia, Tuva was part of the vast Turkic Empire in Central Asia. The Tuvans developed rich oral and musical traditions which were shaped in part by their connection to nature and their belief in spirits. Shamans used throat singing to commune with spirits, and shepherds would imitate the sounds of animals, wind, and water while wandering the high steppes and taiga forests. The environment in which throat singing is performed is of particular importance; the music is intended to resonate within the natural acoustical environment of a cave, cliff, or steppe (where sound carries a great distance.)
Throat singers achieve their unique sound by manipulating their vocal folds, which enables them to produce a distinct melody by amplifying certain overtones and de-amplifying others. As a result, throat singers can produce two or more tones (ranging from a low, bass-like vibration to a flute-like whistle) simultaneously—essentially singing in harmony with themselves. This is a remarkable feat which is almost never heard in Western music.
Check out some of my favorite throat singing performances below, and stay tuned for next week’s installment of World Music Wednesdays. For more info on throat singing, check out this neat Scientific American article.
I've had both the Beatles and Michael Jackson on the brain lately, so I thought I'd see if I could dig up any related video content. I ended up finding the music video for Say Say Say, a duet between Jackson and Paul McCartney. It's thoroughly entertaining--check it out below.
Click here to watch the video on YouTube if you can't see it above.
When I found out that the Beatles' original albums (all thirteen of them, plus the two Past Masters albums combined into one) were going to be digitally remastered for the first time ever, I could hardly contain my excitement. Even though I was born after the Beatles broke up, I still can't get enough of John, Paul, George, and Ringo. The Beatles are mythic, and yet at the same time, like trusted friends. I feel as if I know them, somehow, through their music.
Everyone knows their story, of course. And everyone has their own Beatles stories. I remember singing "Help!" at the top of my lungs while my Mom's old vinyl record played in the background (I was three) and learning the story of John Lennon's life and death for the first time (I was, perhaps, five). "Yesterday" was the first song I ever karaoked. My first boyfriend recorded "Norwegian Wood" on a cassette tape and gave it to me as a gift (this was before the era of CDs!) And when I first heard the song "Eleanor Rigby"--well, my breath caught in my throat.
So the thought of being able to hear the original Beatles catalog remastered is just--wow. The Beatles remastered catalog will be released on 09-09-09, and will coincide with another highly anticipated event: the release of The Beatles: Rock Band. For the first time ever (another first!) fans will have the opportunity to experience being part of the band. It's pretty awesome if you ask me. I can hardly wait!
Luckily, we have plenty of Beatles-related fun going on in the meantime. In honor of worldwide Beatles Day, we've tricked out our Beatles Store and we're kicking off a Beatles celebration that will last for the next two months--right up to the release of the remasters and Rock Band.
Visit the store to check out the remastered albums, preview The Beatles: Rock Band, watch videos, and test your knowledge of the Fab Four. And check back often--we'll soon be counting down our favorite Beatles albums of all time.
Are you as excited as I am?
(Watch the trailer for the Beatles Remastered in the Beatles Store if you can't see it above)
*A word of explanation about this list: while the majority of my picks can be called world music, a couple of them (Emmy the Great, Little Boots) are imports which don't necessarily fall into the world music category. I'm including them here because: 1) they've been released in another country, and 2) I couldn't resist sharing them (seriously, they're that good). But keep in mind that you probably won't find either of these artists categorized under world music in our music or MP3 stores.
I practically swooned the first time I heard this tiny, tattooed French-Canadian chanteuse. With a voice like honey, Coeur de Pirate ("Heart of a Pirate"), otherwise known as 19-year-old Béatrice Martin of Quebec, has crafted a rich, whimsical, and utterly stirring debut album imbued with a vein of nostalgia and maturity that far belies her years. While songs on the album are driven primarily by Martin’s magical piano playing, Martin weaves in string arrangements, horn interludes, and accordion accompaniment with a thoughtful, nuanced touch. Each melody is as finely crafted as spun silk.
The album sounds like it could have been made in 1920's France or used in the soundtrack to the film Amélie.The buoyant “Ensemble” (“Together”) makes me feel like dancing down the street, while the pensive “C’était Salement Romantique” (“It Was Terribly Romantic”) fills me with longing for something that I can't quite define. Listen and imagine yourself wandering the winding, cobbled streets of some old European city. You don’t have to understand French to love this album.
If you can't see the embedded video player above, clickhere to watch a YouTube video of Coeur de Pirate performing "C'etait Salement Romantique."
I was blown away when I first heard Issa Bagayogo’s Issa Remixed. Rarely have I heard West African music infused with house-style dance rhythms so successfully—and so infectiously. Originally from Mali, Issa grew up playing the ngoni (a three-stringed lute popular in West Africa), but rather than sticking to traditional music, he’s infused his albums with elements of jazz, dub, and funk. Hybrid albums like this can often go wrong, but Issa’s compositions are masterfully done, and Issa Remixed is no exception. Who knew that West African chord structures could mesh so well with electronica and sound so natural?
I never would have expected the artist behind one of my favorite folk albums to be from London--a city that I tend to associate more with sassy britpop (think Lily Allen, Kate Nash) or alternative rock (think Coldplay). But with a soaring, lyrical voice that hearkens back to the ‘60s, Emmy the Great (Emma-Lee Moss) is the real deal—with a twist. Yes, her music is folk, but she's anything but traditional. Witty and sarcastic, she probes into heavy subjects (death, pregnancy) and offers up world-weary and frequently biting social commentary couched in that smooth, magnetic voice of hers. This is folk music with a thoroughly modern edge--or, perhaps, folk music for the 21st century.
Reigning fado queen Mariza doesn’t disappoint with her fourth studio album. No fado album is complete without heavy doses of Portuguese guitar—and this album has it in spades—but Mariza also experiments with other musical styles without straying too far from her musical roots. She sets her marvelously flexible vocals to blues and jazzy piano, succeeding at the difficult task of offering up a thoroughly refreshing take on this most traditional and stylized of musical genres.
If you’re into dance music, you’ve probably already heard of Little Boots,
a.k.a. 25-year-old Victoria Hesketh of England. A multitalented
musical dynamo, Little Boots made a name for herself by posting YouTube
videos in which she performed her own original compositions and covered
other popular songs. Not only does she sing, she also plays the
keyboard, the piano, the stylophone, and the very cool electronic Tenori-on—sometimes
all at the same time. With an astute ear and a flair for making multilayered
rhythms irresistibly catchy, Little Boots merits the buzz that she’s
generated. She’s a serious musician taking electro-pop seriously,
and the result is a dance enthusiast's delight, especially welcome in a genre that is sometimes considered too commercial to be "real."
If you can't see the embedded video player above, clickhere to watch a YouTube video of Little Boots performing "Meddle."
1. Amesoeurs - Amesoeurs With equal parts Lush-inspired poppy shoegaze, black metal brutality, and epic atmospherics that bring to mind bands like Explosions in the Sky and Godspeed You Black Emperor!, France's Amesoeurs' self-titled debut album (and swan song) could very well be my favorite album of the year. Unable to determine a direction for the band, they decided to call it quits before the album was even released, and it's a real shame. True, the album is a bit schizophrenic--it's completely sung in french by both a male and female singers, and sounds like it could have been recorded by 3 or 4 completely different bands--but that only adds to the "wow" factor of this record, and speaks to the level of talent behind the music. While the sound may occasionally fall on the harder side of indie and alt-rock, tracks like "Faux Semblants" and "I XIII V XIX XV V Xxi XVIII XIX IX XIX IV V I IV" elevate Amesoeurs to levels of heavenly bliss.
2. The Horrors - Primary Colours Primary Colours, the sophomore album from (former) coffin-rockers The Horrors, who's debut album Strange House came out in 2007 to much acclaim, have given themselves a complete makeover with spectacular results. Brimming with post-punk texture, fuzz, and instruments that seem to bend sound like some kind of audio equivalent to CGI, the Horrors brought in Portishead's Geoff Barrow and acclaimed video director Chris Cunningham (who directed the video for "Sheena Is A Parasite" from Strange House, took two years off to learn audio production, and makes his debut as a music producer here) to create Primary Colours. Much like Radiohead's sophomore album The Bends, here is the evidence of a band that initially seemed like a flash in the pan novelty, and now reveals themselves as an artistic force that may be impossible to ignore.
3. The Pains of Being Pure At Heart - The Pains of Being Pure At Heart TPoBPAH (as I will henceforth refer to them) are really awful at naming things, but they make damn good music. Take for example the terribly-titled "Young Adult Friction," an addictive, catchy tale of finding love in the library that bounces with excitement, and manages to sonically capture what it feels like to fall in love. The fact that TPoBPAH sound like a British band circa 1992 when they're in fact New Yorkers circa 2009, that they're on the legendary San Francisco Bay Area fuzz-pop label Slumberland Records, and they've virtually redefined what it means to be a indie rock nerd in the last year only sweeten the deal. A non-stop stream of relentlessly addictive songs doesn't hurt either.
Portland, Oregon's oddly named Point Juncture, WA's latest release, Heart To Elk, employs an intoxicating mix of drums, keys, vibraphone, bass, and horns, along with subtle, squealing atmospheric guitar to create visceral, inpsired sonic pop-scapes. Combining intricate, unexpected and unique melodies with equally equisite harmonies, Point Juncture, WA have, with Heart To Elk, created the kind of album you'll want to put on repeat, one that is instantly gratifying, but also reveals itself over time. Though the band has been playing together for the better part of a decade, they haven't managed to break out of their local scene until this release, which has started to see some well-deserved national recognition--expect big things in the future.
From the first few notes of Sharon Van Etten's debut album, Because I Was In Love, I knew I was in love. Sharon's bell-clear, lilting voice and heartbreaking, deceptively simple melodies create a soft and comfortable bed of beautiful melancholy that's hard to resist being drawn into. Like legendary folk mistresses Sandy Denny, Vashti Bunyan, Judee Sill, and Julie Doiron before her, Van Etten's songs are intense, beautiful, and each and every one is a gem. What makes Because I Was In Love so special is that it's so intimate--it puts itself so plainly on display, and it's sadness is tangible. Gorgeous, stunning, and essential.
I'm sure there will be complaints that I didn't call out Animal Collective, Grizzly Bear, Neko Case, or (insert your favorite band here). Sorry! Share the goodness, and let us know what indie and alt-rock albums you're digging on so far this year in the comments.
