I’m baaaaack! Now here’s some Gotye.

OK, so I haven’t been here in awhile. I’m sorry. As I wrote over on eri-chan*eats awhile ago, at this point I’ve pretty much accepted that I’m never going to be one of those awesome bloggers who’s putting up new material constantly and getting tons of hits and comments and what-not. I just don’t have the self-discipline. So, I’m gonna stop making myself feel guilty over it and just let myself write when I feel like writing, and leave it alone when I don’t. Cool? Cool.

That being said, I’ve got a post planned with my favorites list from 2011 (yeah yeah its been 2012 for a month already, I know) but right now I have GOT to tell you about this 2011 release that I only just discovered yesterday thanks to a weirdly late First Listen feature on NPR: Gotye’s Making Mirrors.

Gotye (pronounced “go-tee-yay”, according to NPR) is a Belgian-Australian singer/songwriter with one of the clearest, cleanest singing voices I’ve heard on a man in quite some time, and apparently a hell of an ear for insanely catchy, vaguely retro pop music.

Making Mirrors is chock full of awesome melodies, creative arrangements, danceable rhythms, and clever lyrics, all tied together with Gotye’s gorgeous vocals. His work on this album has been appropriately compared to artists like Peter Gabriel and George Michael in the late 80s/early 90s, and I often hear bits of Sting and Seal as well. But despite the obvious fondness and respect with which he’s looking back to that era and that style, the music doesn’t live in the past. There’s a real modern sensibility about these tracks, with enough electronic flourishes, subtle samples, synthesized atmospherics, and technological trickery to anchor it squarely in the present day.

What’s really gotten me hooked on this album is the fact that I can’t remember the last time music made me feel so GOOD. Standout tracks “I Feel Better” and “In Your Light” are almost impossibly catchy with infectious rhythms that make the prospect of sitting still while listening to them a seriously difficult proposition. Other tracks, like the penultimate “Save Me” and the frankly-not-long-enough “Somebody That I Used to Know” (check out the video below) featuring a brilliant appearance by New Zealand songbird Kimbra dig their claws in with soaring vocal harmonies and arresting lyrics.

Basically I put this album on and I end up smiling pretty much through its duration. That’s a seriously rare thing in today’s music world, where it seems like themes of anger, melancholy, detachment, and debauchery are practically a prerequisite to get any sort of attention. And that isn’t to say every song on the album is sunshine-and-rainbows – that’s not the case at all – but Gotye approaches even the hard themes (see the aforementioned “Somebody That I Used to Know”, or “Smoke and Mirrors”) with a certain upbeat attitude that keeps things from ever feeling too heavy. It makes for a refreshing and genuinely enjoyable listen.

Its not a perfect album, unfortunately. There’s a bit of genre-hopping going on which may put some listeners off – as good as the funky soul-stomper “I Feel Better” is, its a pretty big left turn from the slinky groove of “Smoke and Mirrors” immediately beforehand, and the ambient blink-and-you’ll-miss-it opener “Making Mirrors” doesn’t quite mesh with the fast-driving Beck-ish “Easy Way Out”. Even weirder is the way the best song pair on the album is immediately followed by the worst. The fakey-futuristic pitch-shifted vocals and island beat of “State of the Art” might make for an intriguing song on its own, but when taken in context with the rest of the album, it just doesn’t fit. The hushed creepiness of “Don’t Worry, We’ll Be Watching You” is perhaps less of a stylistic leap, but comes way out of left field in terms of tone: its just too dark for this album. Both of these are throwaways as far as I’m concerned.

But 10 solid tracks out of 12 is still pretty impressive, and when those 10 tracks are AWESOME, its hard to be disappointed.

Now if you’ll pardon me, I’m gonna go replay the album again and try to dance in my chair without anyone noticing.

More on Gotye:
Official Website: www.gotye.com
Facebook: www.facebook.com/gotye
YouTube: www.youtube.com/gotyemusic
Soundcloud: soundcloud.com/gotye

Buy the album on Amazon (CD or MP3)

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Jon Anderson, live at B.B. King Blues Club, NYC

The hardest thing about writing anything about Yes, or about Jon Anderson, is that there is so much I could say, but it would never be enough. My words, no matter how deeply considered or how well composed, would never do justice to the overwhelming experience of listening to this music or being in the presence of these musical masterminds. I will never be able to do them, or him, justice. But still I feel compelled to write, and so I shall.

B.B. King's Blues Club Marquee

B.B. King's Blues Club NYC logoThis past Saturday, I was blessed and overjoyed to be in the audience as Jon Anderson took the stage at B.B. King Blues Club in  New York City during this year’s solo tour. In the last few years he’s performed there several times, and I’ve been lucky enough to  see him there twice – once on a similar solo tour, and once with the immensely talented kids from the School of Rock. Both shows were wonderful and magical in their own way, but there was something special about this weekend’s performance. Continue reading

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More new prog – new track from Mars Hollow

This has been a pretty prog-tastic couple of weeks: first, we learned that Yes would be releasing their newest studio album in July of this year; now, contemporary prog-rockers Mars Hollow are streaming a preview track from their upcoming sophomore album World in Front of Me on Soundcloud.

Mars Hollow - World in Front of Mev

“Voices” was apparently written in honor of the Royal Wedding, which seems odd, but I can’t say I care too much about that (I’ve just been informed by the band that this was a Facebook goof – whoops!) ; what I do care about is that this is a solid track evoking the sound of both Yes and Rush in equal parts, very much in the same vein as the material on their debut. If this single track is indicative of the rest of the album, then my hopes are high for a quality sophomore effort.

You can check out the track on Facebook, or on Mars Hollow’s Soundcloud page. While you’re there, I highly recommend giving their debut self-titled album a listen, which is also available for streaming. I really think Mars Hollow is one of the better contemporary prog-rock albums I’ve come across, with a consistently melodic, semi-symphonic 70′s-esque sound that I find endlessly appealing. “Wait for Me”, “Midnight”, and “Dawn of Creation” are standout tracks, but they’re all solid.

More on Mars Hollow
Official Website: www.marshollow.com
Facebook: facebook.com/MarsHollow
MySpace: myspace.com/marshollow
Soundcloud: soundcloud.com/mars-hollow

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NPR is Wonderful – new Fleet Foxes

Once again NPR comes to the rescue with their First Listen series, giving us a taste of the new Fleet Foxes release Helplessness Blues over a week in advance of the album’s May 3 drop date. (Was I the only one starting to feel like the 3rd would never actually get here?)

Fleet Foxes - Helplessness Blues

Fleet Foxes - Helplessness Blues

I’m writing this as I’m only about 1/3 of the way through my first listen, and my immediate first impression is one of jaw-dropped, speechless awe at the beauty of the thing, but I probably shouldn’t get too ahead of myself. Continue reading

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New Yes Album in July – Fly From Home

You’ll permit me to geek out for a moment, won’t you? Good. Because I’m gonna do it anyway.

See, Yes – the progressive rock giants who landed on the U.S. music scene in 1969 and have been recording and performing ever since (though with many personnel and style changes along the way) – are my favorite band, to the exclusion of all others. I have seen them live 7 times since 2001. I have listened to every studio album more times than I can count. I’m pretty sure I could sing the lyrics to “Close to the Edge” , “Starship Trooper”, and “Awaken” from memory, and if you know anything about Yes, you know that’s no easy feat.

Yes logo

And I am not exaggerating when I say that their music has saved my life, twice. In my darkest moments, in the most difficult times of my life, their music has shown me a bright point of light to cling to and strive for. And they are the only band that I can say, without any qualification or hesitation, that I genuinely, deeply love.

To put it simply, Yes changed my life. And not just once, but over and over again.
Continue reading

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New Radiohead – “Supercollider”/”The Butcher”

So, yesterday was Record Store Day, an annual event designed to bring awareness (and business) to independent music stores around the world. Many stores welcome customers on RSD with special in-store concerts and sales, but the real backbone of the event is the multitude of limited edition record releases that are sold ONLY in stores and ONLY on that day.

Radiohead - Supercollider

Radiohead participated this year by releasing a limited edition 7″ vinyl with two exclusive new tracks, “Supercollider” and “The Butcher”. Of course, they weren’t selling the record in the U.S. (damn!) but luckily we can all at least listen to the new tracks over on Listen Before You Buy.

EDIT 4/22: If you ordered The King of Limbs before April 18, you can now download the tracks for free! Click on over to the album website for the download link (you’ll need to log in with the info you used to make your original purchase.)

I would argue that the originality and experimentation that we all hoped for from The King of Limbs is very much in evidence on these tracks. Neither is a huge departure from what the band has been working on over the last few years, but they also don’t quite fit the mold.

“Supercollider” is marked by some really rich, warm synths that are rather unlike anything I’ve heard on any past Radiohead tracks, and Thom Yorke’s soaring falsetto is perhaps a bit more demure here, though no less striking. The track as a whole leaves me with an overall impression of light and open-air, almost celestial in scope.

“The Butcher”, as implied by the name, is an altogether darker piece of work, with a syncopated, rattling drum beat, richly layered samples and atmospheric waves of sound. Yorke employs a more varied vocal style, singing the verses in a lower register reminiscent of the band’s earlier recordings, then layering his own voice in harmonic falsetto to create an almost choral effect in the background. The track flirts with both sparseness and richness, seamlessly transitioning from one sound to the other and back again to create a distinctly wave-like effect. Its a very natural-sounding track, at times haunting and at times brooding.

Neither track has the sort of soul-crushing climax that I still desperately miss from the band’s In Rainbows era, but I also think that both are better than almost anything on The King of Limbs. They hint at a Radiohead that is still exploring, experimenting, and pushing their boundaries, if perhaps a bit less aggressively than they used to.

The downside is that these tracks are apparently the last new material that will be released from The King of Limbs recording sessions, so it would seem my hopes for a second disc in the still to-be-released Newspaper Album in May were unfounded. And it absolutely kills me that I couldn’t get ahold of the vinyl – I’m sure there’ll be copies on Ebay in a day or two (or already are) but I can’t quite allow myself to buy one that way. Seems somehow like cheating.

Bottom line, this will probably be the last new music we’ll be hearing from this band for now, so I guess we just have to hope that it won’t be another 4 years before we get another album.

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Listening List Recap 4/2-4/10

Here’s a quick recap of this week’s listening, based on the running Listening List that I’m keeping over here. Think there’s something I should add to the list? Want to know my thoughts on any of the albums below? Drop me a comment and let me know!

Listening List Recap 4/2-4/10

Stone Sour - Audio Secrecy

Stone Sour: Audio Secrecy – So here’s the thing. I know full well that there is nothing particularly special about this music. I know there are probably dozens of other bands out there who have produced practically this same album. But because I’m a total sucker for melodic, relatively hard pop-metal, Audio Secrecy is a total winner for me: plenty of angry, heavy rockers mixed in with epic pseudo-ballads (“Hesitate” = OMG), with a fairly wide range of influences on display. Stone Sour is routinely compared with Slipknot, particularly in the earlier parts of their career, and I’d say that’s still fair; but I also hear bits and pieces of bands like Killswitch Engage and Fuel popping up here and there.

Truthfully, I don’t think there’s a weak track on this album. I’ve gone back to it many itmes over the last week, and I suspect I will continue to do so for a long time – it feels like it’ll have the same kind of staying power as some of my favorite alt-rock albums from the 90s.  (4/4)

Ra Ra Riot - The Orchard

Ra Ra Riot: The Orchard – I heard the second half of “Too Dramatic” on the radio one day, and immediately got hooked even before I’d had a chance to listen to the rest of the song, never mind the album. The next day I went and downloaded it, and at this point I’d call myself half-satisfied with my purchase. Of the ten tracks on the album, there are 5 which I really, really like: the opening triplet of “The Orchard”, “Boy”, and “Too Dramatic”, followed by “Shadowcasting” and “Do You Remember” from the album’s second half. On these tracks the band seems to have found their post-rock stride, combining orchestral strings and really quite lovely vocals with some fairly traditional rock band instrumentation to create a sound that sits somewhere between The Temper Trap and perhaps a band like Efterklang. I particularly enjoy Wes Miles’ vocals on these tracks, who reminds me a bit of Darren Hayes (from Savage Garden.. remember them?) at times. The rest, as far as I’m concerned, are throwaways. I’d still like to give their debut album The Rhumb Line a shot, though. (4/6)

tUnE-yArDs - w h o k i l l

tUnE-yArDs: w h o k i l l – I never would have expected I’d be so excited for this album a month ago, but all the coverage around Merril Garbus’ SXSW performance and all the advance song releases really got me chomping at the bit. Thankfully, the album absolutely lives up to expectations. Its totally wacky and I don’t think I can begin to describe her sound, so I’d really just recommend that everyone head over to NPR this week and give the album a listen (its not officially out until the 19th, but NPR’s excellent “First Listen” series has made the album available as a web stream) and decide for yourself whether or not you like it. I, for one, love it; with the exception of the second half of “Gangsta”, which as far as I’m concerned just dissolves into unlistenable noise, the whole album is exciting, refreshing, energetic and occasionally really beautiful. Favorites (aside from the obvious “Bizness”) are album opener “My Country”, “Powa”, and “You Yes You”, with “Doorbell” a very close runner-up. But seriously, its all good. (4/10)

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