It seems
strange to me that an album so filled with such rancor, regret, confusion and
loss has come along and filled me with such a rush of life-affirming adrenaline,
but this is exactly the case.This
second long-player from US
indie pop band Gold-Bears is an
absolute jolt to the system.The album
jumps right in with eleven fantastic blasts of sheer immediacy – all of which
merge abruptly into one another – giving this collection the feel of a hot live
show from a well rehearsed endlessly energetic band.This transports me back to being a 15 year
old again, smashed against the stage of a sweaty club gasping for breath as the
band flies through these upbeat fiery moments of sheer raw emotion and
excitement.This album, my introduction
to Gold-Bears, is an instant addiction.
Where does Slumberland Records find so many great
bands?Where was I when Gold- Bears
released their first LP in 2011?This is
the third year in a row that Slumberland has introduced me to absolutely
thrilling acts, like last year’s Joanna
Gruesome premiere, and the 2012 debut from Evans the Death.This kind
of hot streak rivals, if not surpasses their landmark earliest days – even Black Tambourine’s Pam Berry guests on backing vocals.This album falls right into the corner for those of us who loved Boyracer’s debut compilation LP (MoreSongs
About Frustration and Self-Hate) on Slumberland from 20 years ago.They share a similar frenetic, high energy,
messy passion and portrayal of all kinds of matters of the heart and it is
invigorating.
I don’t
know, but I’m guessing some kind of major break up or divorce may be the
impetus for many of these songs.My clue
comes from the wonderfully catchy early Superchunk-esque
burner “For You,” which contains the bitter lyric: “I heard you’re upset
because I sold your ring / it was just a reminder that you never did anything
for me.”It’s this palpable recent hurt
that drives this breathtaking collection.The fresh stabbing pain of betrayal comes out in spades with the album’s
downbeat closer, “Fathers and Daughters,” where band leader Jeremy Underwood lists a multitude of
things wrong with his ex – each with the prelude “who am I to tell you?”But it’s the first three songs of this album
that truly set the stage.The opening
two and a half minute blast of “Yeah, Tonight,” a duet with former Standard Fare singer Emma Kupa (here listed as ‘Cooper’),
details the mixed emotions during the initial parting of ways (“my histrionics
only began to exist on the day I decided to leave”).Again, the album is mixed so almost all of
the songs bump directly into one another.This is especially exciting between “Yeah, Tonight” and the second sharp
incisive song “Chest,” which rivals anything from the early Wedding Present albums, both musically
and lyrically.“Chest” captures the
mixed emotions of the early stages of a split by combining both angry lines
(“everyone thinks the worst / they think that you’re worthless / yeah, they
do!”) and those strong feelings of connection that are oh so difficult to let
go (“and I will love you like the way that you could never love
yourself”).Then we’re immediately
jolted into the ripping and careening “Death with Drums” that adds an urgent
organ hum up front into the intense sounds already created by all the guitars
and the driving drums and don’t miss the killer opening line: “’Til death do us
part,’ we let it die,” as Underwood’s earnest vocal desperately reaches out for
understanding (sounding like Mac
McCaughan, or one of the guys from Defiance,
Ohio).It’s not until the fourth
song, “I Hope They’re Right,” where we are allowed a moment to breathe.The song is quiet in comparison to the
opening attack, but those buzzing remnants provide a constant ringing of
feedback humming and loud bass booms try to overcome the quiet acoustic picking
and whispered words of reflection and pining hopes of leaving a positive and/or
stinging tinge of regret for the one left behind (“if it’s true what everybody
says / then she will never feel this way again / I hope they’re right”).
There are so
many great songs here that have me pretty damn fired up.The quick shout along “Memo” is an amazing
minute and a half of brilliance, while the one “long” song (five minutes) “Hey,
Sophie” finds the regretful Underwood singing to his lost love and from far
away and letting go of some of the anger (“I’m sorry it had to be this way”)
and remembering better times – all atop a bedding of a Seamonsters-era Wedding Present relentless pounding beat before an
extended dreamy instrumental closing.Elsewhere, another former Slumberland alum gets a nod, as “From
Tallahassee to Gainesville” draws from a similar on the cheap Phil Spector style “wall of sound”
early 60s doo-wop that Henry’s Dress
once performed so beautifully and briefly.
I almost
feel guilty deriving so much enjoyment and enthusiasm from such hurt, but it is
the sheer force of will that gives this collection such an inspiring and
life-affirming drive.For that, I will
listen and absorb all of the power it provides and be the better for it.Do not miss this album.
I know that
I never consciously thought this, but I was pretty sure that I would never be
buying a Cannanes collection again.I
have so many random 7” singles from them from the early 90s, along with (all
that’s left anyway) their amazing Caveat
Emptor CD that features the amazing “Broken Bottles.”They were always all over the map, both
musically, and literally all over the map with releases coming from every
corner of the globe on the tiniest of labels and in various formats.It was impossible to keep up with them – not
to mention that much of what they would record would be released years after
the fact, so there was no way to gauge their actual genuine progression as a
band.Eventually, I gave up and they
eventually disappeared.Yet, here we
are, twenty years after the last record I purchased from them and with no idea
what they’ve been up to.Whatever the
case, somehow I learned of new music of theirs last spring and liked what I
heard.This Small Batch EP is made up of a surprisingly groovy group of six
songs.I say surprisingly, because what
I remember from them is lo-fi ramshackle, pretty and amateurish true indie
pop.They made the kind of music that
was straight from the heart, with little regard to consistent tempos through
songs, or ability to actually play their instruments proficiently.When they happened upon a great idea, this
approach was amazing and heartwarming or wrenching, depending on the message of
the lyrics.They also have always had
the very unique and wonderful voice of Frances Gibson.It’s Frances Gibson and her sweet vocals
along with the only other original member Stephen O’Neil who guide us through
this new direction.The opening “Bumper”
has a jaunty beat, a steady repetitive bass line and some really cool trumpet
fills and a jazzy keyboard improv toward the end, as Gibson sings “Is it worth
another try? My friends don’t think so.”Could she be referring to her own band?Next up is the crawling “Crawler” – which opens with the line “let’s
break bottles / let’s jump off chairs / I’ll do that much to show I care” as
Gibson details a fractured relationship over some yearning guitar
plucking.This is a beautiful song that
reminds most of what I remember from a long time ago – aside from the strong
musicianship that is.Then, “Basics”
returns to the steady beat of “Bumper” and provides another winning track, as
does the more straightforward indie feel of “Tiny Compartment.”Meanwhile, “Molecule” hits with a huge deep
bass drum throb, a grinding bass line and some quiet trumpet.Aside from a barely there conversation, this
is a dubby dance mix.Lastly, “Zone”
opens with trumpets blaring just before a trip hop beat bursts in – giving off
a “Step On” Happy Mondays vibe and
the repeated lyric “you’re confusing me.”I agree, because I’m confused, though completely impressed.I love the new directions, and that they have
kept their songs in bite sized nuggets – none of these surpass three and a half
minutes.This is a great small batch of
songs!
The band
also released their first full length in about 11 years, but I have not yet
tracked that down.It seems as though
(with a new single out as well) they are back in full force with their crazy
release schedule.
Nothing
makes sense anymore.There’s a new
Cinerama single and it’s on a tiny Texas
label.The Wedding Present have been
touring relentlessly for the better part of the last two years in support of
their winning 2012 album Valentina
and various anniversaries of their older material.And yet, here we are with new material under
Gedge’s other band, Cinerama.Cinerama
came about at the end of the 90s when Gedge changed his musical direction quite
drastically and started recording more orchestral baroque pop style songs with
his then girlfriend Sally Murrell.Over
the course of three albums, several line-up changes and about six years, they
were starting to sound like the Wedding Present again, so that seemed to be the
end.There are generally Cinerama songs
performed at their shows, but now we got this new one and it sounds pretty much
exactly like a less loud Wedding Present song.It’s just all so confusing.Having
said that, “I Wake Up Screaming” is vintage Gedge, as he builds up an overwhelming
jealousy in his dreams only to realize that what he’s been overlooking all the
time.In other words, it all goes poorly
as usual.The B-side is a live version
of “Unzip” from their 2000 Disco Volante
album and it’s oddly a hushed version for a live one.A very good recording, however.
Meanwhile,
the new (mostly) tour only available Wedding Present 7” comes along soon
after.This new song picks up right
where Valentina left off, with some
classic buzzing and quick strumming work before transitioning into the angular
tempo changes that were all over that last album.Despite the shifting moments and at least 45
full seconds of feedback at the end, this is as catchy and memorable as ever –
handclaps and all.The B-side is a cover
of Wreckless Eric’s “Whole Wide
World” (a famous 1977 new wave/punk era classic ballad) and sounds like an
outtake from late 80s Wedding Present full speed ahead and so good to hear that
unbelievably fast electric strum again.
It’s been a
few years since I’ve heard from this Midwestern folk-punk collective (their
fourth album Midwestern Minutes was
my #10 pick of 2010 seen here).I know very little about them other than
their music, but that’s pretty much what matters, right?I first encountered their second album,
2006’s The Great Depression, and
instantly fell for their heartfelt array of personal/political tunes performed
with mostly acoustic instruments (including great violin and piano) and a fun
collaborative feel where every member adds vocals and I’m guessing lyrics.This strength gives them a wonderful variety
without losing their cohesiveness.This
new EP, which apparently was released via free downloads on their website some
time ago, appeared late this last summer and I was excited to truck down to 2nd Avenue Records and pick
up the vinyl.That mission alone always
leads me back to my younger days of buying multiple punk 45s from there based
on label, or cover art or “I think I heard these guys were cool” or from the
various compilations that used to add to my shopping list and maybe that’s what
I kind of like about this band.I love
their passion and desire to truly find answers to social and political
problems.They have that energy that
idealism that I far too often I have lost with age.The opening song, “The Calling” even
addresses this – the progression into soul sucking routine: “Monday morning
drag your feet again / can you feel it? That’s the crawling of your skin,”
which they valiantly fight against and hopefully encourage us all to do the
same (“This is the part where I dig my heels in my heels / dig my own
rut”).Next up is the helpless feeling
protest song “I’m Against the Government” whose obvious title cuts at
itself.It’s not offering any solutions
by throwing up their hands with the question “what do you do with a council full
of charlatans?” before concluding with the painfully obvious and silly line “I
might not ever be the president.”Side
one closes with “Call it a Comeback,” which reminds so much of their work on
the last two albums.There are many
tempo changes and moments of quiet reflection housed with a weeping violin,
before exploding into a rousing chorus.Side two opens with the strong “Horizon Lines, Volume and Infinity” – a
song that is musically complex (though I could do without the orchestral Beatles style break during the final
verse), and lyrically brilliant.What
makes their messages so perfectly relatable is how they house them in songs
filled with personal imagery and they never preach.This song is about friendship and memories
and realizing their own limitations (“At times I’d like a map to what I cannot
comprehend – but infinite cartographer, your trusted magic pen can only ink
against the edge of understanding”).Finally, the brief acoustic “Bad Ideas” builds into a nice little
sing-a-long ditty, while the closing song “I’m Just Going to Leave Now” is a
re-recording of one of their earliest songs in honor of their 10th
anniversary as a band and it shows how good they’ve been all along.This stuff should be heard by more
people.Check them out, please.
The first LP
from NYC’s is a brief foray into all kinds of sounds and directions and I was
initially drawn in by their two minute chiming guitar burner “You Are a Lion, I
Am a Lamb.”The twin breathy vocals of
songwriter Brian Harding and Amelie Bruun lift this song up to fantastic
heights.The first half of the album is
full of these short moments of pure pop that land somewhere between the modern
revivalist Raveonettes and the UK dream pop
heroes Pale Saints.This is a good thing.Aside from the menacing instrumental that
opens the album, the next five songs are all different ways to achieve this pure
pop bliss.“James” has Harding sounding
a lot like the Pale Saints’ Ian Masters
during the heavy beat and dreamy echo-laden guitars of the verses, while the
chorus explodes in hyper driven “woo woos” on top of a Lacquer-era Popsicle bed
of noise.While “James” and “Spring
Break (Birthday Song)” pull out moments of harmonies born from the Beach Boys
and place them easily into the modern age.It isn’t until the second half of this collection that the band expands
their sound a little more freely.“Jazz
& Information” is a slow builder with bluesy guitars that shifts into a
really strong catchy tune along the lines of Spiritualized which includes some killer saxophone guiding it
home.Things start to lose focus as the
collection continues.The hazy “The
Millionaire” wallows in the clouds with obscured vocals and a promising melody,
but it’s not enough to break from the fog, meanwhile the fun closing number
“Broken Chinese Chairz” contains similarly altered vocals, but instead this one
zips along with an excited energy.“Separator” is the mid tempo gem that is the secret weapon of this
album.It is hummable, has a nice guitar
hook, a Kim Deal-like bass line and a dreamy and glowing chorus.I can never figure out why I don’t hear music
like this on the radio.Oh yeah, I gave
up on radio a long long time ago.This
is a varied, promising, and inspired debut that could only be boosted by a
bigger sound.If they can find the
incredible Hugh Jones to produce
their next album, we may be treated to something extra special.
British Sea
Power’s fifth album is another perplexing collection.I am coming to realize more and more that
they are probably an acquired taste and one that I was sort of born with.In other words, I like them, but I’m not sure
that they will ever really find anything outside of their rabid small
audience.They are simply too obscure,
despite their big arena rock type moments (especially seen on 2008’s Do You Like Rock Music?), or my
favorite, the focused pop moments of 2005’s Open
Season.With 2011’s epic and chaotic
Valhalla Dancehall (my #21 pick seen here), I think they simply embraced
their eccentricities and went nuts with it.This is probably a good thing, but no less inconsistent and
confusing.Luckily, Machineries of Joy has some of their best songs to date and some of
the most subdued.Plus this collection
is thankfully much more concise.Now
that the string work from Abi Fry has officially joined the band, there is an
added cinematic quality to their sound that adds warmth and comfort (no wonder
they’ve been tapped for two soundtracks so far).The opening title track is absolutely
excellent.It sputters and builds slowly
and never fully crescendos, but rather floats us into a trance inducing
bliss.“K-Hole” continues their long
history of short bursts of chant along shout outs, as does “Monsters of
Sunderland.”It’s amazing how they can
get one to sing happily along with a catchy chorus from a song full of obscure
historical and scientific references, but they do.Notice the “Radio Goddard” title is not
referencing the legendary film director Jean-Luc
Godard, but rather likely the physicist, and inventor of the first liquid
fueled rocket, Robert Goddard. But
it’s still a song with a nice sentiment and it’s educational too, because I
cannot help but look up some of their mentions and allusions.Another favorite is the quiet “A Light Above
Descending,” which is probably too cleverly wordy, but still somehow finds its
way into the consciousness long after listening.Unfortunately, there are three musical duds
here.“Hail Holy Queen,” “Spring Has
Sprung,” and the closing “When a Warm Wind Blows Through the Grass” all have
the components – beautiful soundscapes, and poetic lyrics, but they don’t seem
to add up to memorable songs.Despite
this, it is the high points here that win out and will keep me coming back for
more from this intriguing and perplexing band.
Veronica Falls’ debut album (my 2011 #9 pick seen here) was quite an eye opener. If the year had just lasted a bit longer, I would hazard a guess that it would’ve risen higher than my random and arbitrary #9 ranking. Their spell-binding vocal harmonies and precisely strummed dry guitars adorn some incredibly timeless pop songs on top of some very dark lyrics. That is definitely the place to begin, if you’re unfamiliar, but for those of us needing a fresh fix this post tour single is quite an appetizer. “My Heart Beats” is easily as good as anything from that album. The low end rumbles and shakes its way through a very simple but powerful tune. It may be because the vocals are more upfront in this one, or how the guitars jangle and howl alternately, but this is a great sign that they are here for the long haul. The quiet reflective organ driven “Killing Time” is a request to spend time with someone who may or may not concur. It’s simple, but eerily heartbreaking. They have recently released a preview to their early 2013 album named “Teenage,” and it is worth a look too. Bring on the new album!
(veronicafalls.com)
Veronica Falls-My Heart Beats
19.
Nature Set If I Crawl, You Crawl EP
(Dufflecoat)
I was hoping for a full album from these gals and guy after their fun and exhilarating 7” EP on Elefant Records last year (my 2011 #14 pick seen here), but I will have to make due with this 5 songer for the time being. Three of these songs appeared late last year on a split cassette release (with Former Lover – a project started by former Long Blondes’ guitarist songwriter Dorian Cox. The Long Blondes’ former bassist Reenie Hollis is now in Nature Set.), but I am glad they have been rescued from that horrible format. I know cassettes are kind of hip these days, but for those of us who were around when that was the biggest selling music format – believe me when I say that there is a good reason they are now mostly gone. Anyway, this EP opens right where last year’s single left off with the super 60s garage rock inspired organ infused “Avalanche” and it is superb! “If You Lived Here You’d Be home By Now” continues the organ fueled sound, but increases the pace and throws in some nice handclaps and their oddly high pitched background harmonies (luckily they keep those things low in the mix – they are a bit worrisome). “Hands” feels more like the bulk of the 7” from last year, as it would fit right in on an old Go-Go’s album, while “Albatross” brings back that organ (is that a farfisa? I don’t know these things) and a commanding vocal. “I Am a Planet” finishes this off with a punky burst of fun. Another excellent EP! Will there be an album in store for 2013?
(natureset.info)
Nature Set-Avalanche
18.
Rose Elinor Dougall The Distractions EP
(download only)
Where might you have heard of Rose prior to this? She began her career as “Rosay,” one of the founders of the fantastic pop trio The Pipettes, 6 or 7 years ago. She was the bratty brunette with the rich voice. Now she’s out on her own and creating something very different from her old group. Early this year, Rose let slip a little three song download only EP titled The Distractions and it is definitely a step forward from her solid debut solo album – 2010’s Without Why. This set opens with the spectacular builder “The Night,” which opens with a twangy guitar line atop echoing layers of reverb and a slow groove from the rhythm section. It would fit right in with the best work on her debut – reminding a bit of the standout track “Find Me Out.” However, “The Night” is really a pairing of two different interpretations of the same set of lyrics, as about halfway through, the slow burn transitions into an upbeat head bobbing rocker crammed with stratospheric layers upon layers of high end guitars and a throbbing low end. The second song, “I’ve Always Known,” is the true single of the EP, as it’s bouncing beat and chiming guitars set the stage for a classic two timing lover story, where the narrator is simply resigned to let the cheater go. Finally, the final song is the choppy “Hanging Around” – my least favorite of the group, but one that has grown on me over time. The strong-handed electric strum drives this song right into a very strong chorus. Word has it that these songs were recorded shortly after Rose’s solo debut and is a stop gap release before her next album – but not a sign of things to come. I’m not sure what to make of this news, since the first two songs here would’ve been my favorites if they had made it onto Without Why and I so want to hear more like this! No matter the case, she has made a strong argument in favor of keeping an ear out for her future work. This is amazing.
(roseelinordougall.bandcamp.com/album/the-distractions-ep)
Rose Elinor Dougall-The Night
17.
Drakes Hotel Logic Adopts Senses
(DH Music)
Okay, so this is the fourth album from the nomadic (I believe they are currently in Omaha, NE these days) married duo Drakes Hotel, but really this is their third offering, since their unknown debut is only a piece of ancient lore that is a closely guarded secret. Ever since their 2007 (sort of debut), Tell Me Everything (my #5 album of 2007), I have been hooked on their unique sound, which is somehow both a wall of noise and stripped down (I know – that makes no sense, but buy their music and do better, please!). Nothing on this reaches the urgent call to re-connect with reality as Tell Me Everything’s highpoint “Broadcast to the Addicted,” but “Kids R Chrome” is a close second as Amy Drake shouts at us to wake up to life over an electrifying guitar line before explaining the she thinks “the kids are sleeping” in the chorus – fantastic! The album is frontloaded with most of my favorites on the first half. The beautiful and mysterious sounding “Cillian” is a simmering song of full love, or is it obsession? You decide, as you soak in Chris Y’s creeping guitar work that reminds me of the experimental and otherworldly recordings from fellow Nebraskan’s For Against as found on their In the Marshes recordings. “From Over” and “Game Show Heart” should both be hit singles, as they are incredibly catchy and Drake’s vocals are, as always, intoxicating. Chris Y takes over the lead vocals on a pair of tough sounding songs “All My Days” (“Didn’t expect to kiss the bricks”) and “Told A Tale,” which adds to the incredible variety that these two conjure up with fairly simple recordings. That makes three great albums in a row.
(drakeshotelmusic.com)
Drakes Hotel-From Over
16.
The Twilight Sad No One Can Ever Know
(Fatcat)
What can one say about the Twilight Sad? They are pretty much one of those acquired taste bands. They are so dark, claustrophobic and sinister that it’s difficult to sell the idea of them to anyone, unless they are already bought in on that style of music. All three of their albums are steeped in singer James Graham’s vague but tragic via innuendo words. There always seems to be some undercurrent of something that has happened that is so dark and unforgivable in his stories that it’s incredibly intriguing and allows the listener’s mind to fill in the blanks and most likely make it even darker. Until this third album, Andy MacFarlane’s huge waves of guitars have always added to their overwhelming edge by punctuating the unnerving words with blasts of noise and crescendos at just the right moment. It makes for something that can be incredibly cathartic and almost primal when listened to at deafening volumes, but it is definitely mood music. It takes a rare bird who can listen to this kind of thing at any old time. With No One Can Ever Know, the Twilight Sad has brought in noted remixer Andrew Weatherall to produce (or “anti-produce”) this work. What that has done is change the sound by bringing in layers of keyboards and placing those up front. Normally such a statement sounds like the death knell for a band looking to change things up a bit, but in this case it opens the door for more opportunity for growth. The sounds explored on the first two albums seemed to have the potential of closing in on itself. Now they have retained their heart and soul and expanded their horizons. It doesn’t hurt that they’ve written some of their best songs here either. The opener “Alphabet” is an intense pounder with howls of off-putting strange sounding keyboards that sweep back and forth, as Graham’s powerful chorus gives us a glimpse that things are still confused and messed up (“So sick to death of the sight of you now / Safe to say I never wanted you more”). It is definitely one of the songs of the year for me. It’s clear from the get-go that Weatherall’s guidance hasn’t effected the band’s intense focus of guiding their fans through some serious shit, as they do on the epic “Dead City,” the post OK Computer Radiohead-ish “Sick” and the amazing closer “Kill it in the Morning.” This all could fit in with best post-punk of the early 80s, like the Cure’s similarly oppressive and chilling Pornography. Again, one probably has to buy into this to begin with to appreciate it, but if you do, it is spectacular and their best work yet.
(thetwilightsad.com)
The Twilight Sad-Dead City
15.
Maximo Park The National Health (2 CD)
(V2)
When this came out, I kept reading about how this was a comeback album for Maximo Park, which makes no sense to me. Maybe there was near break up news that I missed out on. I know there was a solo album or two floated about since 2009’s Quicken the Heart, but it was only three years between albums. Maybe that comeback reference had to do with a creative comeback. Again, a little confused, since they only have a small selection of four albums in seven years, and none of the prior three were weak. Sure, they have not achieved the full on frantic spectacular energy and captivating tunes of their amazing 2005 debut, A Certain Trigger, but each record has some very good songs. It could’ve been a reference to the breakneck preview single and title track “The National Health,” which rivals their early drive and passion and tosses in some timely words about today’s uncertain economy and a society that seems to be sinking into near total apathy and/or distraction. However, this album isn’t far removed from the more keyboard heavy third offering; Quicken the Heart, than anything from the first two. There’s nothing wrong with this though, because their nice guy heart on sleeve words suit the more lovelorn romanticisms and milder tempos of their more current material. In fact, a few of these songs delve into the realm of the gushing and breathy perfection of OMD’s 80’s classic “If You Leave.” “The Undercurrents” is so full of airy atmospherics, lush background vocals and Paul Smith’s striving melodramatic yearnings that it achieves the windswept heartbreak it wants. This is a compliment, by the way. They find other highs with similar songs on “Reluctant Love,” the regretful “This is What Becomes of the Brokenhearted” (“The biggest mistake of all / I didn’t return your call / the biggest mistake of all / my explanation stall”), and the low bass murmuring acoustic ballad “Unfamiliar Places.” Instead of a comeback, this feels much more like a continuing slow evolution of a solid band.
The second CD is comprised of four acoustic versions of album tracks. It’s nice to hear especially, “Hips and Lips” in this setting, because it is quite different from the odd passive aggressive slow roar of the album version (“the way you stick out your lips / and keep your hands on your hips / and I’m supposed to know...what that means”). Not essential, but a nice addition.
(maximopark.com)
Maximo Park-The Undercurrents
14.
The Pains of Being Pure at Heart
“Jeremy” 7”
(Slumberland)
This is such a great treat! The Pains of Being Pure at Heart have been a favorite around here for the last few years (their 2011 album Belong was my #16 pick seen here), but I think their strength is as a singles band. Their songs of youthful energy are ideal in short bursts of rejuvenation that beg to be listened to over and over, as opposed to stuck in the long playing format. This time this young and fun band shines their sunshine onto two songs from two of my old favorites from 20 years ago. “Jeremy” is a forgotten gem from the Magnetic Fields’ second album (Distant Plastic Trees from 1992) and where on Stephin Merritt’s version it has a toy like orchestral sound; here the Pains bring on their rush of fresh air and rock the shit out of it! This, not only reminded me of how much I love that old Magnetic Fields album, but gave me a new version to love! The B-side is not to be missed either. It’s from the lesser known F.M. Cornog’s East River Pipe and his 1992 single rare sort of upbeat (for him) a-side “My Life is Wrong.” Again the Pains instill this old classic with chiming and buzzing fire and turn it into a power pop burner! Maybe if I send them requests they can revive a bunch of other lost classics from my old collection! Well done kids!
(thepainsofbeingpureatheart.com)
The Pains of Being Pure at Heart-Jeremy
13.
The Wedding Present Valentina
(Scopitones)
This is the third album (8th overall) for the Wedding Present, since David Gedge’s hiatus with Cinerama for 8 or 9 years, around the turn of the century. Gedge, the band’s leader and only original member, has not changed his tune that much over the years. He still sings about love and lust and awkwardness over the top of dry and cleanly strummed guitars. Yet, somehow it can always find a way to sound fresh, despite their old tag-line “every song sounds the same.” However, sometimes it sounds fresher than others. I welcomed their return with 2005’s Take Fountain and ‘08’s El Rey, but both of those albums had a short shelf life with me. Neither one urged repeated plays over time, but Valentina sounds revitalized and is my favorite of theirs since 1996’s Saturnalia. Maybe it’s because both of these albums share a little bit of experimentalism and messing about with the tried and true formula. While Saturnalia introduced some old fashioned keyboard layers into the mix (a retro vision of the future kind of sound), Valentina adds an odd minute long burst of noise at the end of the frantic “Back a Bit…Stop,” and then throws us some dual drums on “End Credits.” The focus and unity of this album is what strikes me, as well as the welcome addition of more female vocals (thanks to now former member Terry De Castro and newcomer bassist Pepe Le Moko) to fill out his little love adventures. The album makes complete sense from start to finish – giving it an added vibrancy. But who can deny the joy of hearing Gedge’s consistent and never ending run of short stories about running into his next crush and the trials and tribulations that stem from there on out? It could get old if he weren’t so good at making it so damn relatable and human and filled with self deprecation (“You’re really way out of my league” from the stomping “Meet Cute”). After nearly 30 years of doing this, Gedge has been taking his band out on tour and revisiting high points from the past by performing favorite albums as whole sets, which is both excellent (as a fan of the old material) and a shame, because this new material is one of those high points and shouldn’t get the short shrift. Just check out the uplifting happy ending in “Mystery Date” – “No one could’ve been more surprised than me/ when you wrote your number down and said ‘call me at the first opportunity’/ because this does not happen to me/ things like this do not happen to me.” So good.
(scopitones.co.uk)
The Wedding Present-You Jane
12.
Young Galaxy
“Shoreless Kid” 7”
(Paper Bag)
Oh, this single is exactly what I needed to hear from Young Galaxy - a double A-sided good old fashioned vinyl single with two excellent brand new songs. Young Galaxy has released three albums beginning with 2007’s beautiful sweeping epic majesty of their self-titled debut (that year’s #12 pick for me) and, personally, as they’ve become more electronic with each successive release, my interest has dwindled. 2011’s almost entirely electronic Shapeshifting has a handful of excellent songs, but nothing as captivating as their first album, or the transition album Invisible Republic (2010’s #12 pick seen here). However, when YG get things right, they are so amazing that they will always find a loyalty well up inside of me. So, when this single emerged, I knew had to give them another chance. So glad I did, because the mostly electronic “Shoreless Kid” is a nice little 80s-ish dance number with a set of fantastic lyrics sung in unison by both lead vocalists - Stephen Ramsay and Catherine McCandless - telling the story of an empty life that is so identifiable, it’s a little eerie (“headed to your bedroom / to hear your favorite songs / and dream of the day / when you finally slip away”). I love this song now and I would’ve loved it in 1985/86 when I was a huge Depeche Mode and Pet Shop Boys fan. This is smart and touching. The other a-side, finds YG giving us another catchy song that holds truer to their earlier work, but more upbeat. “Youth is Wasted on the Young” is another ode to losing oneself (a lonely and angsty self) in music. It drives and grinds like an early Cure single and the chorus gives us an amazing line – one that I so wish I had come up with: “I wouldn’t mind dying at all / if it weren’t for the songs I’d miss.” Maybe now that they’ve solidified a new rhythm section, this is a sign of a promising balanced direction of things to come. They are supposed to be working on that fourth album now and I am really excited for this one, based on this sampling.
(younggalaxy.com)
Young Galaxy-Shoreless Kid
11.
The Raveonettes Into the Night EP Observator
(The Orchard/Vice)
Normally I feature full albums in my reviews when reviewing an artist’s output for a year – not singles and EPs. In this case, The Raveonettes Into the Night four song EP is the reason why it is where it is in this silly countdown, why I purchased Observator the day it was released, and the reason I went to see them play live late this Summer. I’m not 100% sure why I purchased this EP in the first place. I liked the little bit of the Raveonettes that I’d heard, especially songs like “Last Dance” and their faithful cover of old favorite “My Boyfriend’s Back” originally by girl group the Angels in 1963. Maybe it’s because songwriter Sune Rose Wagner and “My Boyfriend’s Back” co-writer Richard Gottehrer have done such wonders producing the last few Dum Dum Girls records that I’m so gung ho for, or because the EP was only $3 new in the local shop, or maybe I bought it unheard because Sharin Foo sits on the cover near a window with what seems to be the longest pair of arms in the world reaching down to touch her shoulders. Whatever the case may be, when I played this, I could not stop playing it. The 60s girl group heartbreak songs drenched in a huge wall of Specter-ish sound is always a winner with me, especially when that sound is draped in 80s post-punk band fuzz and dissonance. All of these songs are so such full of magic and spine-tingling moments and massive exaggerated drums solidifying the experience with a deep low heartbeat thud. “Into the Night” leads in with a harshly struck dry guitar notes before exploding into euphoric breathy vocals and inside that full on wall of noise. The lyrics are a simple framework of heartbreak and a need to be taken “into the night,” but it is the effect of the music that drives the message home and makes it so damn powerful. Similarly, the grinding “Night Comes Out” craves the facelessness of the night life and during the stellar buzzing chorus we learn that “when the sun goes down we have fun.” The up tempo “Too Close to Heartbreak” pounds through its 3 minutes in much the same way and will have you happily singing along with the chorus “do you care if I die?” Lastly, is the somewhat throwaway “Bad Ghosts.” It sounds amazing, until we reach the chorus, which is repetitive in all the wrong ways, but the guitar solo bridges and the two verses save the song. The whole experience of this EP is only a little over twelve minutes and it is so freaking perfect sounding! It cannot be cranked enough.
Meanwhile the album is my favorite so far of what I’ve heard from them, but it lacks the wallop and immediacy of the timeless sounding EP released five months prior. The ghostly piano strains throughout give this album cohesiveness that some of their prior work seems to lack for me. Plus it’s to the point. None of these songs over stay their welcome. Naturally two of my favorites are “Downtown” and “You Hit Me (I’m Down),” the two that come closest to the massive sounds of the EP that I am so in love with. But the acoustic country inflected starter “Young and Cold” sets a nice mood that continues in a reflective and simple Velvet Underground manner that continues throughout. This is really good work and after seeing them live, I think I need to take a closer listen to their prior material.
(theraveonettes.com)
The Raveonettes-Into the Night
The remainder of 2012's Top 40 can be found via these links:
