Category: Ambient (Page 8 of 8)

Dear Future: Can’t Wait Any Longer

Dear Future is one of those bands that right now is garnering a lot of record label attention, and for good reason. It might seem that there are a lot of Radiohead clones out there, and while that’s a comparison that borders on copping out for lack of a better one, the fact remains that Bends-era Radiohead coarses through the collective vein of Dear Future. And that’s not a bad thing at all. These guys from Illinois are back with their sophomore release, Can’t Wait Any Longer, and it’s likely that some label will do just that. Sure, the brooding tenor and moody arrangements are something you’ve heard before, but these guys get that the songs have to be there too, giving them a nice accessibility factor. And there is a nice little roller coaster ride, from the poppy title track to the darker but melodic “Eden” or “You Are Loved” to the bonus piano track, “Twenty.” Hopefully the slopes of the coaster will continue to be fun for these guys and that tons of adoring fans will continue to find them, because in a somewhat crowded genre, Dear Future is a band to keep on your radar. (self-released)

Dear Future MySpace Page

Bullz-Eye’s Favorite Albums of 2008: Staff Writer Taylor Long’s picks

2008 was a year of many highly anticipated albums, from long-awaited follow-ups from big names to indie debuts. There were the albums I listened to most and felt left a lasting dent on the current musical landscape.

Top 10 Albums of 2008

1. TV on the Radio: Dear Science
Brooklyn’s critical darlings hit it out of the borough again with their third full-length, Dear Science. They continue to defy even the most coherent explanations and descriptions. This is what the future sounds like – and it’s exciting.

2. Fleet Foxes: Ragged Wood
The Pacific Northwest is finally producing, once again, the caliber of music that its isolated atmosphere and gorgeous surrounds should be stimulating. Driven by front-man Robin Pecknold, but by no means a one man band, the Fleet Foxes have the best lockdown on vocal harmonies since a certain supergroup in the ’70s — and the songs do their fair share of standing out, as well.

3. Pattern Is Movement: All Together
Throw all notions of what a two-piece should sound like out of your mind. This Philidelphia duo is nothing like what you’d expect them – or anyone – to be. Avant-pop-rock meets classical form and textures in the most beautiful mess of an album. If, at first, you’re taken aback, don’t worry, just press repeat.

4. Dengue Fever: Venus on Earth
While there were bands that hit it bigtime with their exploration of international sounds (see below), Dengue Fever didn’t come nearly close enough to receiving the kind of attention they deserved. Boasting Chhom Nimol, a singer who actually sings in Khmer, the official language of Cambodia, the LA inhabitants’ mixture of Cambodian pop meets surfer pop and psych rock is not only legitimate but bred of some serious talent.

5. Wolf Parade: At Mount Zoomer
It could perhaps be argued that At Mount Zoomer, the follow up to Wolf Parade’s first album Apologies to the Queen Mary, doesn’t pack the same punch in terms of pop hooks. In many ways, this is true. In other ways, it doesn’t matter. The over-10-minute-long album closer “Kissing the Beehive” is just as memorable – if not more so – as any of their shorter tunes.

6. Deerhunter: Microcastle/Weird Era Cont.
One of the weirdest yet most beautiful, comforting yet most alienating albums in recent memory – or double-album, if we’re getting technical. Get lost in the repetition, then find yourself in the breakdowns and freakouts.

7. The Notwist: The Devil, You + Me
The highly, highly anticipated follow up to the German group’s earnestly romantic and soothing electro-pop album, Neon Golden. The Devil, You + Me continues in the same vein as the album that they broke out with. What more could anyone ask?

8. Vampire Weekend: Vampire Weekend
As pleasing as it might be to be able to deny the righteous climb of the afro-pop appropriating, stereotype-perpetuating ivy leaguers known as Vampire Weekend, the honest truth is, aside from its lack of emotion, their debut is pretty undeniable. And in a musical climate where one too many bands have been overly saturated in their feelings, perhaps a little break from them ain’t so bad.

9. Death Cab for Cutie: Narrow Stairs
Every year, there’s a band that gets the sentimental vote. This year, it’s this one. Seattle’s Death Cab for Cutie bounce back from glistening pop to a strangely inconsistent yet cohesive sixth album. Piano ballads, power pop and, of course, the experimental stalker jam first single – it’s all here.

10. Portishead: Third
The last slot is almost always the hardest. What pushed it over to Portishead were two things. Firstly, unsurprisingly, the group’s history. One of the most influential players in trip-hop, Portishead recorded a measly two albums (though there was nothing measly about the content). Secondly, they bounced back some 10 years later to deliver not just another album, but another groundbreakingly, strangely beautiful one. If only every long-term hiatus had such remarkable results.

Top 10 Songs From Albums Not On My Top 10 List

1. “Put On,” Young Jeezy feat. Kanye West
The video alone would have warranted the number one spot on this list, but as it just so happens, “Put On” is a completely unforgettable song, the kind I heard blasted on my Brooklyn block night and day. Also noteworthy: the only time Kanye West used a vocoder this year that didn’t sound stupid.

2. “A Milli,” Lil’ Wayne / “A Billi,” Jay-Z
Weezy arguably had the more successful summer jam over Jeezy, but truth is, his voice is still slightly irritating, no matter how many times I hear this. Perhaps it’s no surprise, then, that I like Jay-Z’s freestyle cover just as much as Wayne’s original.

3. “U.R.A. Fever,” The Kills
This is the sexiest song released in 2008. Really.

4. “L.E.S. Artistes” / “I’m A Lady,” Santogold
I refuse to choose between the two hottest jams on the debut from Brooklyn’s Santogold. So I’m not going to.

5. “Take My Love With You,” Eli “Paperboy” Reed & The True Loves
Why wasn’t this song blasted from the speakers of every single person who loved retro-revival acts like Amy Winehouse and the Pipettes over the last year? It should have been. Also: people in long-distance relationships, you have a new jam. Trust me.

6. “Mr. Alladatshit,” Kidz in the Hall
Kidz in the Hall made my mid-year list, but the second half was just too strong and knocked them out of contention. That said, this song from the Chicago rap duo is, to quote the song, “flyer than giraffe’s [privates].” Assuming they meant that as a good thing…

7. “Touch Me I’m Going To Scream, Pt. 1,” My Morning Jacket
The My Morning Jacket album was a little too uneven, but its high points were very high, including this lilting, sensual jam that’s exemplary of everything the band does right.

8. “Many Shades of Black,” Raconteurs
Without as much influence from Brendan Benson, the Raconteurs are starting to sound like another White Stripes… which would be ok if there wasn’t already the White Stripes. Having said that, this soul-infused break-up tune is not just more of the same.

9. “Lately,” The Helio Sequence
The duo from Portland continue to evolve their sound with Keep Your Eyes Ahead, their most memorable album to-date, which boasts the repeat-worthy lead off track “Lately.”

10. “Sensual Seduction,” Snoop Dogg (or “Sexual Eruption,” if you have the unrated version)
It’s as if Snoop Dogg heard any of R. Kelly’s recent albums and said, “That man knows what he’s doing.”

Enya: And Winter Came…

Actual conversation between two Bullz-Eye staffers:

Writer #1: Isn’t Enya’s new album a holiday album?
Writer #2: Aren’t they all holiday albums?

It was only meant as a joke, of course, but there is a kernel of truth there as well. There is nothing on And Winter Came… that sounds any more or less Christmas-y than any of her other albums (save for the album’s closer, a version of “Silent Night” done in Irish), but Enya’s soundscapes do have a certain coldness to them that make them ideal wintertime listening. You’ve heard a few of these songs before in various incarnations – this album’s instrumental title track is a direct descendant to the instrumental title tracks on Watermark and Shepherd Moons – but a couple songs, namely “Trains and Winter Rains” and “My! My! Time Flies,” boast chord progressions and arrangements that suggest Enya’s a closet power pop fan, of all things. Heck, the latter song even has an honest to goodness guitar solo. It’s tempting to put Enya down for making the same album over and over, but it works, damn it. (Reprise)

Click to buy And Winter Came…

The Submarines: Honeysuckle Weeks

Crafting good songs is not as easy as it looks. But crafting mostly happy, upbeat songs that just scream to be placed on film and TV is another level of difficulty altogether. That is, unless you are the Submarines. The male/female duo’s second album, Honeysuckle Weeks, already sounds like a movie soundtrack – and the music is bouncy electro-pop with solid arrangements and melodies that are unique and compelling at the same time. There is also a nice balance of vocals between lead singer Blake Hazard with the harmonies of John Dragonetti. If you can imagine this, think modern iPod commercial fare such as Orba Squara meets ‘80s new wave icons such as Siouxsie and the Banshees or anything from “Sixteen Candles.” Tracks like “The Thorny Ticket” or “The Wake Up Song” are as catchy as anything ever recorded, the latter showcasing the duo’s lush harmonies. But these two know how to get down and dirty too, as they do on the dark and haunting “1940” and “The Fern Beard.” And “Brightest Hour,” with Hazard’s dreamy vocals and sparse piano key hits, is a movie trailer away from bigger things for this duo. (LABEL: Nettwerk)

The Submarines MySpace page

Newer posts »