Reboot this shit.

A few weeks ago I had intended to publish my numerically based rating of A Day To Remember’s 2010 release What Separates You From Me. I then decided I’d rather not make a moron out of myself as the mouthwords don’t often work to well for me…

That being said, I think I’ve given up on caring so much, and just want to kill time in the most pleasing way possible, starting with a shoddy review of  Toronto’s own Au Palais’ recently released EP Tender Mercy.

This four song EP released via Bandcamp on the 5th of December packs a pretty strong punch. Atmospheric, eerie, soothing, calm sans melodrama, and above all else it sings understanding.

What in the hell could that mean?

Simply put, the title track, Tender Mercy, doesn’t aim to be conflated or “too out there to understand” it is simple, melodic, and hauntingly beautiful.

The tempo is increased ever to slightly with the following track, Pathos. However, this track maintains the flow and feel of the form while expounding on the qualities found therein.

Because The Night, begins with an odd sample, then transitions into a stark mix of vocals and simple notes. This sets the tone for the remainder of the track, where the song is developed into a very aggressive reminder of separation that slowly builds with a caustic like burn that eventually leads to chaotic wall of noise that succumbs to the initial vocals and notes. By far the best track on this EP.

And like all good things, there has to be a downside…

The fourth and final track of this EP, while not necessarily disappointing, has no reason to be included. The track H.O.L.L.A.N.D. takes a note from Van Halen’s Jump and indulges in a very…gaudy(?)…use of synth. This isn’t even the worst, this track includes what I’ve deduced to be a sample from the film ‘Kung Pow’ (you’ll know what I mean.) This is not to say the track is a total loss, it still retains that haunting undertone, however, the downsides far outweigh the good and almost seem to mock the three previous tracks.

This EP effectively evokes emotion in a very graceful way. It forces you to the darkest lows and deepest fears yet offers you comfort and satisfaction. Disappointingly, the final track might evoke laughter and draw one out from the comatose of introversion offered by the majority of the tracks…then again…maybe that is a good thing.

4/5

And now they’re making a movie starring Michael Cera and directed by Edgar Wright. They released the trailer. Initiate bowel movement.

The world relieves a collective, “Whatever.”

I know that I’ll probably receive alot of flack for posting this. “She’s a plastic person who only famous for being crazy.” I know this, I know she knows this, we all know this.  That’s what makes it fun. It’s ridiculous for ridiculousness’ sake.

Commence onslaught.

Onto the album: 21 songs and 20 bonus tracks( that are download only), all covers of Mulcahy’s music from his solo works, Polaris, and Miracle Legion. Countless tribute albums are god awful; yet in CMSS’s case you have Thom Yorke, The National, Frank Black, Dinosaur Jr., Michael Stipe (of REM), as well as countless others offering their talent to the mix. There’s even a few no names that offer some great covers. Hell even Syd Straw the math teacher from Pete and Pete offers up a jam (check her out too, shes been part of some great music).  80% of the time, the artists’ new take on Mulcahy’s gems are great. Yet there are some songs that drag- you just wish you were listening to the originals. However for the most part, experiencing theses songs in a new light is very rewarding.

A handful of tracks immediately graabed my attention on first listen.  Thom Yorke’s cover of All for the Best, Frank Blacks Bill Jocko, and Vic Chestnut’s Little Man are 3 tracks that are all wonderful tracks for anyone trying to sample the album. All for the Best, is perhaps one of the most emotional songs on the album. If you put any research into Yorke or Mulcahy you would find that Yorke and Mulcahy have a strong connection. Yorke once described Mulcahy’s voice as “the most beautiful”, and the 2 grew up together. Yorke made a great decision in choosing the personal “All for the Best” and the listener is given the opportunity to hear a different side of Yorke.  Black’s Bill Jocko is perhaps one of the furthest ventures the artists take from the source material. The result is a classic Black Mulcahy hybrid that fits very naturally. I also give props to Chestnut’s take on Little Man because it’s so very sincere yet retains an original feeling.

I highly recommend this album and give it an 8/10. The source material is great and the covers are great for the most part. Please purchase this album becuase proceeds go to helping Mulcahy get on his feet from his wife’s recent death. He has two daughters he has to support.

PURCHASE THIS SHIT.

Ciao my Shining Star

PS: Check out Mulcahy’s actual works because they are great. And if you stumble upon the pitchforkreview don’t even bother reading it. They listened to perhaps a single Miracle Legion album then based the entire CMSS album review on it.

The Album starts off with the phrase “It was the biggest cock you’d ever seen.  But you have no idea where that cock has been.”  These lyrics are consistent with Arab Strap on two varying levels.  The band’s name itself is a sexual reference (see: Arab Strap.)  Also, they continually deal with issues such as sex and relationships that have faltered.  The opening track broods on at a slow pace and never really hits too hard.

“Soaps” is the standout track on “Philophobia.”  Again, the track runs  along at a slow pace, yet there is a certain aspect to the song that creates an empathetic feeling.  When listening the song conjures up images of an empty pub with a broken man, leaning upon the bar as if it was his best friend, drinking down a beer at last call.  The song gains a sweeping volume at the end which conveys a profound message of perhaps realization.

One aspect of the album that sets it apart from many others is the incorporation of electronics into what would usually be exclusively acoustic tracks.  Drum Machines and Synthesizers are prevalent throughout the album.  When in most cases this could devalue the song, Aidan’s voice and the electronics fit together perfectly.

On many tracks, including “New Birds,” Aidam Moffat speaks indfferently over the music.  There is a certain bone-chilling quality to his story telling.  In the named song, the music comes to a climactic stop in which Aidan calmly speaks about a fall day.

You can see her breath in the air between your faces as you stand in the leaves and she just asks you straight out if you want to come and stay at her flat. But you make sure you get separate taxis and you go home and there might be a slight regret and you might wonder what you missed but you have to remember the kiss you worked so hard on – and you’ll know you’ve done the right thing.

This entire album is filled with subtle guitars and electronics.  Aidan Moffat’s vocals are enough to make one cry.  While sad music may not be for all, i recommend Philophobia to anyone who enjoys a nice work of art.

http://www.datarockmusic.com/video/bulldozer.html

Portugal has a dynamic music style, and a soft-spoken lead singer who can adapt to the band’s evolving style. Gourley has created an overall intimate sound bopping from post-gospel to soul to twee to blues to folk. His transcendent voice pairs well with acoustic guitar &occasional synth to create a unique sound which nests itself deep in the listener. Of their third album Colors, NPR has this to say: “It’s hard to pinpoint what informs Portugal The Man’s sound. There’s a bit of Led Zeppelin and Pink Floyd in the mix, along with echoes of soul and blues. But there’s also a pastiche of vaguely recognizable forms and styles that keep the mix from sounding too familiar.”

But certainly “Colors” seperates itself from the two other albums released by Portugal; A more broad sound, more experimentation, and a unique feel that the listener will immediately hook onto. I would give Censored Colors four and a half stars, a step up from previous albums.

For fans of Voxtrot + Dear Hunter + As Tall as Lions.

Notable tracks:

I. Colors

II. Lay Me Back Down

There is just something appealing about a couple that makes music together.  Matt & Kim are no exception.  Their new record, “Grand,” was released January 20th.  It is a simple, fun indie-pop album that you will not be able to stop singing for weeks.  The music itself is basically the same throughout the record, with a little bit of variety here and there.

Matt & Kim, (Synth and Drums, respectively) are a band from Brooklyn, New York who over the past 2 or 3 years have gained a strong following thanks to the internet.  Between their presence on Myspace and Youtube, and their view on downloading music, they have done pretty well for themselves.  Their first cd, “Matt & Kim” was put out on “Iheartcomix” in 2006.

Their follow up to the self-titled “Grand,” is the same as it’s predecessor.  It’s filled simple melodies and plenty of hand claps.  Clocking in at just under 30 minutes, the 11-song affair is short and sweet.  The thing about Matt & Kim’s music is that you really would not want them to change the formula too much.  They have a catchy, silly bunch of songs on “Grand” and anything else simply would not fit.  The best part about the cd is that you instantly feel great after hearing the opening track, “Daylight.”

You can hear plenty of hip-hop influences in it’s piano-driven love song.  The shout-shout-back vocals in the song really make it that much more enjoyable.  The lyrics are at the same time happy, and sad.  For example:

And in the daylight we can hitchhike to Maine
I hope that someday I’ll see without these frames
And in the daylight I don’t pick up my phone
Cause in the daylight anywhere feels like home

At times the song is hopeful, and at other times the singer sounds like he’s down and out.  Either way, the song is infectious and runs through my head incessantly.

While daylight remains my favorite, “Don’t Slow Down” is a close second.  It has an anthem feel to it.  A summer song if there ever was one.  The song itself is fun and different from the rest of the tracks on the cd, but the lyrics are uninspired.  The lyrics are at about the same level as Blink 182, just repeating “Don’t slow down” again and again.

The album has a few other tracks that stand out above the rest, but no song, other than “Daylight,” is excellent.  If you are looking for a fun record to listen to without putting much thought into, i recommend picking up “Grand.”  I can tell you that you will enjoy it, but it most likely won’t become your new musical obsession.

Stand Out Tracks:

“Daylight”

“Don’t Slow Down”

“I Wanna”

Grand

Final Score: 7/10

Links:

http://www.last.fm/music/The+Von+Bondies

Math the band, that is.

To clarify, there is a band called simply ‘Math’ and then there is ‘Math the Band.’ While they are one in the same; ‘Math the band’ is simply a little more upbeat and fast, ‘Math’ is something more like Beck, sans the rhythm and groove.

Math’s album ‘All Good Things, All in Good Time’ is good middle ground between the upbeat nintendo-core and what I think I will describe as mellow-core that creates the double headed musical beast that is Math (the Band.) ‘All Good Things, All in Good Time’ is one of those albums that your hear and become instantly happy, for no good reason; between the upbeat synth and the lightly relaxing guitar you find yourself in no position to even care that the lyrics make no damn sense. This 26 track album accounts for all letters of the alphabet and includes some classic Math the Band tracks, such as “Fight for the Werewolf Fever” which depicts the downright childish demeanor this band takes so seriously as musicians.  With classic Math tracks like “Tortosie” you could swear you are listening to Math’s EP entitled “Nature.”  Leaving tracks like “Canaries” to offer a fresh reprieve from the obnoxious sounds of Math the Band and the overtly mellow and senseless musical rambling’s of Math. All three styles combine together nicely in “All Good Things, All in Good Time” creating an album that is a comforting cushion from the world; simply put it is down right relaxing.

Math has much in common with the band Architecture In Helsinki, so if you like AIH, you will find much to love with Math. From the perspective of an Architecture In Helsinki fan one might find the lack of prominent vocals and over the top horns disheartening, but do not fret, the synth and other instrumentals are almost clones; Math is just a bit more reserved when it comes to the singing and the horns.

‘All Good Things, All in Good Time’ is an awesome album from an awesome band that is a guaranteed ”pick me up” if you ever find yourself in a down draft in your life life, or just a little lost in the labyrinth of the world.

A total 10/10

Notable Tracks:

1) Canaries

2) A Brief Introduction to Music

3) Fight For the Werewolf Fever

You can download this album, as well as ‘Imaginary Everything’ (parts I and II) and ‘Nature’ HERE