The Rock Blogger

And You WIll Know Us By the Trail of Dead. The Century of Self. 2009. 4.5 stars.

Yes, I will use a tired cliche and call this a return to form. After being bogged down by progressive aspirations and awkward experimentation on their previous two LPs, Trail of Dead have returned to a more cohesive state with the brilliant Century of Self, an epic collection of arty, indie rock songs that are packed with urgency and grandeur. A far more energetic, fluid and fast paced work than its predecessors, The Century of Self has managed to balance their earlier punk-inspired assaults with bombastic segues and progressions, making it a vivid illustration of the band’s lengthy development. While less noisy and raucous than the now classic Source Tags and Codes, this album still retains the soaring dynamic of that release despite the occasionally pompous frills lining the edges.

The first half of the album is exceptionally strong, with rocking numbers like “Far Pavilions” and “Isis Unveiled” revealing that this is not your ordinary indie punk album. These tracks feature beautiful transitions between clamoring guitars and dreamy bridges with orchestral tinges. The latter song in particular will bring back fond memories of TOD’s earlier incarnations, with its incredible pace, literary lyrics and driving percussion. The bridge for this song is a barn burner that clunks by with the same battle-ready intensity as “Will You Smile Again”, the undisputed highlight from Worlds Apart. The opening momentum continues through to the neo-psychedelic flourishes of “Halcyon Days” and the sweeping, sea-faring imagery of “Bells of Creation”, which graced last year’s Festival Thyme EP.

The latter of half of the album is somewhat more melodic, with the rousing and inspired multi-vocal chorus of “Fields of Coral” providing an emotional anchor for the album. Lined by dizzying piano lines and fantastic drumming, the band sings about staying true to one’s beliefs and ideals. With such a strong instrumental backing, they have never sounded so sincere. “Inland Sea”, another Festival Thyme song, is also driven by piano keys and is a pretty counterpoint to the rancor of the preceding tracks. “Luna Park” continues on to even softer territory with piano and acoustic guitars tracing the more sensitive lines of Conrad Keeley’s lyrics. The reflective mood extends onto “Pictures of an Only Child”, where Keeley’s vocals are more understated and effective. Far more earnest than anything on So Divided, the band manages to gracefully incorporate true balladry into their work.

While the album’s final moments aren’t nearly as moving, they are still full of interesting ideas, including the catchy two-vocal exchanges on “Ascending” that adds a stirring sense of comradeship to the disc. While the piano solos that seque between this and the final track are somewhat forced, they helped wind the journey down to the chanting chorus of “Insatiable Two” which brings the whole affair to a satisfying conclusion.

So long story short, The Centruy of Self is a great and beautifully composed album that draws in disparate elements from across the band’s career and fuses them together seamlessly. While they do get a little too interlude happy on some of their songs, which could have used some extra trimming, the overall aesthetic of this album is undeniably epic and rich with detail. Fans should rejoice over the band’s regained confidence as they tear through these tracks. This is easily one of their best albums and can be placed on the same pedestal as their previous masterpieces.

Bells of Creation - Live in Germany

Isis Unveiled

Titus Andronicus. The Airing of Grievances. 2008. 4.5 stars.

What a great debut from this New Jersey band. The Airing of Grievances is a raw, noisy and spirited indie rock album that has shades of The Walkmen and early Trail of Dead. Not only are these songs emotionally charged, reflecting the caustic frustrations of the suburban soul, they also incorporate bombastic piano, horn and brass flourishes. By blending the orchestral with the lo-fi, Titus Andronicus have produced a truly epic work of art-punk.

Amid the fuzz, crackles and screams of this record are great driving melodies that provide a beautiful backdrop for all the youthful, existential aggression. As the grandeur of these songs take hold, the rabid howls of our angst-ridden frontman take on an anthem-like quality. Its music to live (precariously) by. The urgency of this record is damn impressive as the band rails against their own vices, thwarted ambitions and the crooked establishment reigning over them. Despite its expansive construction, the snarly punk-rock attitude survives.

Sure, the production of this album constricts its otherwise massive sound, but it still serves to express the grit and energy of these songs. Like their contemporaries Time New Viking and No Age, Titus Andronicus push the noise-rock genre to arty extremes, while also bringing philosophical eloquence to the table. While certain segments of this album could be a little more polished and refined, for the sake of lyrical clarity, the entire work still stands tall in all its rattled glory. This is punk rock for the Camus set.

Titus Andronicus - “Titus Andronicus”

…And You Will Know Us By the Trail of Dead. Festival Thyme EP. 2008. 4.5 stars.

Trail of Dead’s latest EP has effectively slipped under the radar to take me by surprise. This release comes two years after their last LP So Divided and marks a fantastic return to form for these Texan art-rockers. While they are still verging closer to the prog-rock aspirations of Worlds Apart than the raucous noise rock of Source Tags and Codes, they sound far more confident than on their last two records, pumping these 4 songs full of intricate and boisterous melodies. Since this is being released under their own Richter Scale Records imprint, the boys seem to relish in their new found freedom, staking out new sonic territory and abandoning the often restrictive demands of crafting a single - though there are plenty of accessible moments here.

Festival Thyme is, like any other TOD release, grand and climatic, with songs like “Creation Bells” building from soft orchestral chimes to bloody, propulsive crescendos. Those explosive moments may be loud and cathartic, but they also remain in the same shimmering, progressive prism the band has so steadily crafted over the last few years. It seems like all the hard, and often risky work has finally paid off. That delicate balance between alternative rollicking and artful grandeur has finally been struck, as every crashing transition flows beautifully across this EP.

While Conrad Keely’s vocals are still slightly grating in contrast with the gorgeous piano lines and soaring guitars, they are far more restrained than before and seem fitting within the joyous cacophony of this record. This EP has a very uplifting mood to it, especially as it reaches the final, bursting instrumentals of “The Betrayal of Roger Casement & the Irish Brigade” which sounds almost regal with its slamming piano keys, glorious cymbal crashes and electronic mayhem. Festival Thyme may not have the same breakneck, play-like-your-life-depends-on-it urgency as Source Tags and Codes had, but its still an incredibly satisfying listen. It seems as if Trail of Dead have finally moved past the turbulent transition period that hung over their last two albums and are now facing the future with vigor and excitement. I can’t wait for what’s (soon to be) on the way from these guys.

(not sure if this is the right cover, but it’s what’s showing on RateYourMusic now).

Deerhunter. Microcastle. 2008. 4.5 stars.

Deerhunter’s much anticipated followup to last year’s breakthrough Cryptograms is a dreamy shoegaze record full of trippy melodies and crystal-clear ambiance. The majority of the songs on Microcastle are far more focused than those on their predecessor, with a more streamlined, psych-pop structure that delivers quick bursts of shimmering energy. Beautiful numbers like “Never Stops” wash over you with their cool, hazy atmosphere, sending off druggy, blissful vibes not unlike My Bloody Valentine. The expansive production also lets psychedelic songs like “Little Kids” breathe with full vigor, spreading out into a sea of mellowing reverb.

While Deerhunter may be more focused and refined this time around, the album isn’t called Microcastle for nothing. There are several labyrinthine tracks that lure you into densely layered passages, immersing you in ambient detail. Songs like “Green Jacket” are mysterious, ghostly and gorgeous despite their general lack of direction. They lie in the middle of the album like dark pools of water, a comfort zone for the sleepy astral traveler.

Microcastle, as I have hoped to indicate above, is a richly textured album that moves between tight, wiry alternative rock (”Nothing Ever Happened”) and lush experimentation with ease. The divergence between moods and tones can often be challenging, as you’re not sure whether to fall asleep to this album, or have it blaring along to reckless hedonism. There is no doubt in my mind that Microcastle will be named as one of 2008’s greatest albums, even though segments of it are somewhat ’samey’ and indistinguishable from each other. Taken as evidence of Deerhunter’s speedy evolution, or as a colorful shoegaze album, Microcastle is a fresh, exciting and seductive listen.

“Nothing Ever Happened” Live

This is a great documentary short celebrating the legendary indie label’s 25th anniversary. Touch and Go helped launch subculture icons like Big Black, Slint, Jesus Lizard, June of 44, Shellac and many others, and established an alternative industry ethic that would foster unconventional sounds.
Famed producer Steve Albini, along with several of the label’s artists make appearances here.
Its certainly worth a look and it may even introduce you to some long hidden gems.

Slint - “Breadcrumb Trail” from Spiderland, 1991.

Wolf Parade. "I’ll Believe in Anything" Apologies to the Queen Mary 2005.

I’ll start off by apologizing for the lack of pictures and video from the show, I don’t usually drag my camera along to venues, so I’ll try to convey the concert experience with mere superlatives. In short, Wolf Parade’s live show puts their already excellent recordings to shame - the energy and speed of their set was simply electrifying. Spencer Krug’s spacey keyboards dueled marvelously with Dan Boeckner’s high-strung guitar work, keeping up with each other as they burned through their dancable anthems. All the nuanced vocals, with the harmonized yelps, falsettos and ‘la-la-las" were pulled off perfectly as the duo traded roles as the band’s front man.

Arlen Thompson’s drumming was also impressively frantic and gave their songs a crackling urgency. Hadji Bakara’s sound manipulations were produced with precision, giving the band that oddball, regal quality that hearkens back to the glory days of 70s prog-rock. Dante DeCaro’s bass thundered along without overpowering the others, and gave their whole performance a strong, powerful backbone.

While the band was in top form, the audience wanted to make their voices heard as well - which was both a good and a bad thing. The fist-pumping, chanting and singing along certainly added to the epic and raw quality of Wolf Parade’s set, especially the barn-burner encore of "I’ll Believe in Anything’ with its life-affirming refrain, "Because nobody knows ya, and nobody gives a damn". The crowd was in full agreement. That being said, there was plenty of jackassery to go around, with all the drunken shoving, pushing and falling taking place. I guess indie rock brings out some of the worst in hipster crowds, specifically those who are just there to get plastered and look ‘cool’. Fuck them. And did anyone else notice that water was dripping from the ceiling? Whatever maintenance problem the Kool Haus was having was distracting to say the least.

Despite the annoyances, which were far beyond the band’s control, Wolf Parade put on an incredible show, running through every song off At Mount Zoomer and the most notable fan favorites from their groundbreaking debut. All the bases were covered (see set list below). With their latest tour ending stint in Toronto, Wolf Parade showed that they possess both stellar musicianship and the ability to get people’s hands in the air. It’s just too bad that those hands were spilling Budweiser down my back.

Set List

You Are A Runner And I Am My Father’s Son
Soldier’s Grin
Call It A Ritual
The Grey Estates
Dear Sons And Daughters Of Hungry Ghosts
Language City
An Animal In Your Care
Shine A Light
Bang Your Drum
Fancy Claps
Fine Young Cannibals
California Dreamer
This Heart’s On Fire
Kissing The Beehive
Encore:
Grounds For Divorce
It’s A Curse
I’ll Believe In Anything

Wolf Parade . At Mount Zoomer . 2008. Sub Pop Records. 4.5 stars .

Well, I’m back from New York City, and seeing that I haven’t posted anything new in the past week or so, I need to get back into the swing of things with something truly noteworthy. I am relived to see that my brief hiatus didn’t sink my traffic, in fact I’ve had more visitors come by during my absence than any other period in the last month and half. Go figure.

Since NYC is the really the epicenter of Western cosmopolitanism, my trip was a great opportunity to take in a diverse soundtrack as I roamed Manhattan’s grid. Strangely enough, I would have a Montreal band blaring in my ears, washing over all the taxi horns and police sirens. Yes, I finally got a hold of the new Wolf Parade album, three (long) years after their breakthrough Apologies to the Queen Mary.

I’m happy to say that Wolf Parade have avoided the sophomore slump. After the much beloved, high-strung, art-pop weirdness that was Apologies , these fellows had a high watermark to surpass, and they have clearly met it with this geyser of creative energy. From the opening keyboard jittering of "Soldier’s Grin", you can tell that the band have found their sound, combining whacked-out, electronic dabbling with charismatic indie-rock artiness, wrapped around strange evocative lyrics and undeniable charm.

While the white-knuckled urgency that graced "Shine a Light" and "Grounds for Divorce" on their debut has been somewhat diminished, the extra space given to their newest work allows the band to focus on more elaborate song structures and dynamics, paving the way for expansive neo-psychedelic wanderings. Keyboards, particularly the hard hitting piano of "Call it a Ritual", are given greater credence on Zoomer, further articulating Wolf Parade’s theatricality. While this could have easily become a pompous mess, Wolf Parade never take things too far and use prog-like experimentation to highlight their wonderstruck sensibility, paying tribute to fellow "California Dreamers" who just want to enjoy a free and lovely life.

While its hard to find instant ‘hits’ on this record, unlike the more hook-laden Apologies , tunes like "Language City" clearly demonstrate the band’s knack for well-paced, progressive song craft. Though some songs are fairly stronger than others (the opening trio and epic 10 minute finale are clear standouts), At Mount Zoomer is devilishly entertaining all the way through. Fans will not be disappointed, and newcomers should be quickly taken by the wide-eyed quirkiness that sets them above the burgeoning indie-rock crowd.

Language City (Live)

My Morning Jacket . Evil Urges . 2008. 3.5 stars .

MMJ’s Evil Urges gracefully picks up were 2005’s Z left off, bringing together eclectic styles and influences into a festive and confident whole. Just as Z pushed MMJ’s sound from folksy, rustic indie rock to full-bodied arena-rock jams, their latest offering continues their evolution towards orchestral pop and funk, with many oddball dynamics thrown in. While purists may initially be caught off guard by the gauzy and free-wheeling nature of these 14 songs, repeated listens uncover the great variety and brave experimentation within, making this a work that grows on you over time.

The first thing many listeners will probably notice is Jim James’ uncanny falsetto on some of these tracks, most notably "Evil Urges" and "Highly Suspicious", used to full histrionic effect. The wails, coos and laughs give these songs a very strange, theatrical air, reminding me of some early Micheal Jackson songs, which can be either excellent or terrible depending on your tastes. These funk-inspired moments, while entertaining, seem out of place among MMJ’s previous output, and place emphasis on performance rather than tight song craft.

Luckily, there is some more familiar ground to be tread on here, including the infectious "I’m Amazed" where James’ stunning voice returns to room-shaking form. Other highlights include the groovy, bass driven "Touch Me I’m going to Scream Pt. 1" and the operatic "Librarian" which describes the hidden beauty of a bookish woman in the same lovelorn fashion as the late great Roy Orbison. MMJ’s genre-blending throwbacks are executed with great success, carrying the same stadium-filling grandeur possessed by many 70s era rock acts, but rarely seen in our contemporary (and highly disposable) music culture. While Evil Urges may make an awkward first impression, being an amalgamation of disparate pop and rock elements, it still provides some uplifting moments when given time to reveal itself. Despite my preference for their gritter and more straightforward material (ie. their unbelievable Acoustic Citsuoca EP), Evil Urges is still a refreshing listen that is amplified even further when placed within the context of the band’s continuous progression.

I’m Amazed

Fleet Foxes . Ragged Wood . 2008. Sub Pop. 5 stars .

Seattle’s Fleet Foxes offer a beautiful slice of Americana with their debut album, playing warm psychedelic folk songs full of glorious harmonies and earnest songwriting. While there may be some immediate comparisons to contemporaries My Morning Jacket and Band of Horses, Fleet Foxes expands on the rural sound with a more open and optimistic approach, crafting something that truly has an air of timelessness.

These songs are full, lush and exquisitely executed, centered on gracefully finger-picked guitars and Robin Pecknold’s stunning falsetto which is often supported by soothing harmonization from his band mates. The incorporation of banjos, pianos, flutes and even the mellotron also add to the sweeping drive of this record. Its not grand, epic or pretentious, but rather inviting and melodic, as these progressive elements help illuminate the sunny imagery conjured up by the serene vocals.

While I could go into detail describing each of these 11 excellent songs, I wouldn’t want to spoil any of the pleasant surprises within. I can tell you that this is as comforting as indie rock gets, and its natural-sounding rhythms are sincere and vigorous. This will easily be remembered as one of this summer’s most engaging albums, rivalling Panda Bear’s Person Pitch (2007) as one of the sunniest psychedelic works to grace this decade. Listen, Absorb, Explore.

Sun Kil Moon. Tiny Cities . 2005. 4 stars .

After being floored by Sun Kil Moon’s latest album April , I was compelled to uncover more gems from Mark Kozelek’s career, finding this impressive collection of Modest Mouse covers. That’s right, Tiny Cities is entirely a covers album dedicated to the Midwest’s indie heroes, and Kozelek successfully takes their soul-searching songs and makes them his own.

At first, I approached this album with caution, questioning the wisdom of doing a covers album, despite already being a fan of Modest Mouse. To my pleasant surprise, Kozelek’s reinterpretations are both radically different from their source material without betraying the intelligence and insight of Isaac Brock’s lyrics. Kozelek turns away from Brock’s wild and often maniacal performance and instead plays his narratives through resigned acoustic passages. When filtered through the warm gauze of Kozelek’s voice, the gentle spirit of Modest Mouse is revealed with greater clarity, calling greater attention to the folksy demeanor and dusty memories that had once been hidden within.

With this approach, the more raw Mouse tunes, like "Tiny Cities Made of Ashes" and "Convenient Parking" are streamlined into short, beautiful displays of melancholy. Kolezek’s use of symphonic production also highlights the epic tones contained within "Space Travel is Boring", using Brock’s material to find darker pools of longing.

Tiny Cities , in short, is a fitting tribute to one of indie rock’s greatest acts, extending the lyrical majesty that has made them so significant. Even for those who have no knowledge of Modest Mouse’s material, this is a stunning example of Kozelek’s unique singing style and soothing instrumental work.