Maybeshewill, But I Know I Would Definitely

Post-Rock is a beautiful thing. But, only when done right. Well, that’s with everything right? Well . . . everything except pancakes. But, I stray. So, this British Post-Rock band, Maybeshewill is as beautiful as a Botticelli Cherub. The foursome group implements some of the most grooviest rock orchestrations, with the perfect blend of electronics on their album Not For Want Of Trying. Think of them as a more softer side of 65daysofstatic, but not too soft . . . not by much. Well, on some songs, yes. But, allow me to continue, ok? The UK outfit is primarily a DIY one. They set up their own bookings, handle their own money, and produce their own music. They feel that music should be fun for the creator and not just the listener. And, yes, they seemed to be having fun jamming out for these sessions. Each track takes you to a new place, covers a new ground, and places in you a new vulnerable, yet empowering, state. The guys have a great sense of humor. They even named one of their songs “The Paris Hilton Sex Tape.” Though everyone has seen the tape whether they wanted to or not, not everyone has heard their musical rendition of that “Night In Paris.” And, if the sex tape was as grippingly moving as this music is, it probably would have made that nightvision moment that much more memorable. With sonic blastings of walls of guitar sounds, and a machine gun drum set-up, not to mention a motivating piano performance, it compels you to almost take up Prince of Persia-styled Free Running. Hopefully, you won’t do that unless you’re actually trained for it. On the title track, the quartet assaults listeners right out of the gate with blasting shoegazing power chords. Then, they pull out a Peter Finch sound sample from his speech in the movie Network. The music turns down for the first time the sample is used. Allowing Finch’s words to build you up where the music was formerly taken you. Then, when it comes back on, the music becomes one of the best backing tracks to such a stirring and teeth-clenching moment in movie history. It’s hard to say that this band is going to be the band that breaks Post-Rock into mainstream attention. Especially when Explosions In The Sky still didn’t hit that mark after creating the backing sound for the movie Friday Night Lights. But, it’s even harder to say that this band doesn’t have the goods to blow the socks right off of your feet and straight through the front of your shoes.

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First Aid Kit Repairs Souls

First Aid Kit is probably the best band that you’ve never heard of. Hailing from Spain, this guy-girl duo(Carles Querol & Agnès Aran) conjures up some of the most enchanting music that can ever be heard with ears. The Agnès is the lead singer of the band and she sings in English with an easily recognizable accent. The music is just crazy. Combining elements of Shoegazing, Electronics and Post-Rock, they create magic in the form of melody. Sounding like My Bloody Valentine, Explosions In The Sky, and a mother singing a soothing lullaby. They released their first LP titled F1rst in 2006, to virtually no notice over in USA. Which is completely sad. The album housed the mesmerizing songs “Still On Fire,” “Forgotten Sky” and “Greenish.” Actually, each tune on the album featured something that seemed to play at your lost childhood: an age of innocence and wonder. I would dare anyone to listen to them and state their distaste for their music. If such happened, I’d have to call the person a heartless monster. The duo turned around and decided to release a new collection of songs equally as soul lifting in 2008 on the album Plaits. Again, singing in English, the Querol & Aran bring more of the same. And, no, it isn’t something that would make listeners fret for feeling that they’ve already heard the music before. Why? Because it takes you back to the same wonderland that you went to when you heard their first work. Their lead single from this album is “Truth Can Hurt.” The video for the song features three children just being children. Having fun and showing no care for the troubles of the world at large. Wasn’t the world a majestic place when such was the case? The actual first song of this album “Fake/Real” actually has children singing on the song, followed by Carles and Agnès singing together using the same lyrics the children sang before them. It lets you know what you’re in store for the rest of the album. And, frankly, it should never be a problem to enjoy such delightful melodies and the joyous memories/feelings that they bring. If you can find their music, I strongly urgingly demand that you acquire it immediately. Yes, it can change your life . . . yes, it can.

Still On Fire Video:

From The Album:

Truth Can Hurt Video:

From The Album:

Charlotte Sometimes…

Let me start off by saying that I know that I usually have catchy titles for my posts/reviews. The only thing is, I couldn’t come up with something catchy for this album. So, I just let the name say it all. Now, on to the review, shall we? Named after a 1981 song by The Cure, which was in turn named after a Penelope Farmer novel from 1969, Charlotte Sometimes(which I guess could also mean that she goes by her middle name on occasions) releases her debut album via the Geffen record label after much coverage and anticipation thanks to the wonderland we call Myspace. This young 20-something is here to bring her take on pop music. Hoping to showcase that Pop music from America isn’t all about make-up, lollipops, booty gyrations and airheaded ideas, Ms. Poland showcases, to my surprise, much promise on her Waves & The Both Of Us album offering. Possessing a voice clearly ahead of her measured time on Earth, she has very good control over her range and has a good concept of her limitations. That is possibly due to the first 13/14 years of her life being spent in various dancing/vocal classes. “Losing Sleep,” her album opener, has a soft sound that fits between Sarah Bareilles and Vanessa Carlton, but with intelligent implementation of electronics in the song. She speaks for the current generation of listeners who loves pop and doesn’t feel that they’ve been properly satisfied with what’s offered(or their relationships in love/at home) with lyrics such as: “I’m awake/And I’ve been/Losing sleep/I’ve been fighting all my demons/I’ve been/Getting reamed/Cuz I’ve been/Trying/Trying/Trying/To be/Anything other than me.” It’s almost like she’s a Fiona Apple for a newer, less serious audience. The title track of the album is a more romantic song. Here, she talks about her longing for the man that drives her dreams into a moist loving place. Possibly a song written after spending the night with her beau on the beach, it’s going to be heavily used by females under the age of 22 for the rest of the year if this album catches on. On the track “In Your Apartment,” Charlotte dives deeper into her Fiona influence. A slow jazzy track of a love gone sour, possessing some smokey room styled instrumentation and piano lounge-themed singing. It’s a piece that displays confidence and insecurity intermingled beautifully together as a representation of how virtually every woman truly is. Stand out tracks are “How I Could Just Kill A Man,”(no, not a Cypress Hill cover) “Ex-Girlfriend Syndrome,” “Army Men,” and the breathtaking “This Is Only For Now.” The latter track features digital distortion and disruption of an acoustic guitar melody. It starts off with just Charlotte and the robotic guitar, then comes the club dance floor-ready bass drums. This song would tear airwaves apart if her A&R person is genius enough to have them release this as a single. Charlotte sings with passion, sassy, and determination. Even though the lyrics house some uncertainty from the narrator, the way that it’s delivered makes you think that she’s possibly just playing possum with you. It’s not a long track, though. Clocking in at a little over 2 mins and 50 seconds. This debut is one of a young woman with a true passion for pop music, and her determination to not be regarded as merely another piece of eye candy with cookie cutter musical offerings. She’s a bright little star. And, if she continues to develop properly in her future, then she better wear shades.

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The Bianca Story Is A Tale To Be Told

Recently, Pop music . . . or rather Indie Pop has came back in by the flood-folds. Yes, headphones, radio waves and music video stations everywhere have been swamped by the storm of new bands who just seem to want to have a good time tickling away at their guitar strings. Europe being the central point of such an output . . . specifically England. But, you can’t count out the Swiss. They’ve been dumping it out by the truckloads as well. The band The Bianca Story is one such case. A team of 5 musicians who, supposedly most aren’t from Switzerland, came together and decided that they have something more to offer to that field. The outcome of their collaboration is Hi Society!, which was released in the First Quarter of `08. The first single from the album is “Paper Piano.” Featuring Elia Rediger on lead vocals and a sound somewhere between Vampire Weekend & Arctic Monkeys. The song is strangely moving, as the drums sound live and unfiltered, giving a more personal relationship between the band and the listener(s). It’s an alluring teaser for what one feels the rest of the album would sound like. That is until “Lover” kicks in. The lead vocals are handled by Anna Waibel and the whole sound structure of the band switches to something similar to The Duke Spirit. Taking you completely by surprise, you begin to realize that you can’t pigeonhole this band into one spot. With a such dynamic Lo-Fi recording style, it sounds more like a band taking things into their own hands without worry of a label. “I Should Shout” has the band pulling out 80’s drama synthesizers for assistance on the song. The song seems very intimate in its delivery, with both Elia and Anna having singing parts on the track. The Anna, though, comes in like Lisa Hannigan did on Damien Rice songs. Then, she breaks off into the most powerful part of the song featuring soaringly loud background singing while she chants out “La La La . . . La-La” at the end of the best song on the whole album. One of the funniest moments on the album comes in for the groovy track “Waste Of Time.” Elia, sounding like he wasn’t even in the booth yet, walking around with with the microphone making grunts and moans before the listener starts becoming assault with a trembling bassline that would/should shake the close off of any lass standing near you. The last song on the album is “Sweet & Sour.” Elia and the rest of the band must have had a hard hankering to do a U2-styled song. It’s drifting, beautiful, and somehow ripping. With Anna running her fingers over the ivory keys to add more emotion to the song, you can’t fight against the drifting that comes from listening to this track. Again, this band is not one that is easily categoried. Nor is it one that doesn’t deserve proper attention for present releases and future endeavors. They span across the field of Pop Rock in every sense, and, though it does seem schizophrenic in design, maybe it’s just what this schizophrenic world needs.

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Martina Makes God Turn Blue

Martina Topley-Bird originally started out as a protégé/singer for the Trip-Hop pioneer mastermind Tricky. She was featured heavily on his album, Maxinquaye, and lightly on albums thereafter. Not to mention she had a child by the man. In 2003, she released her first album Quixotic which was retitled Anything in the US and missing a track or two. In 2008, she pushes out her second solo release titled The Blue God which was produced by the in high demand Danger Mouse(of Gorillaz, Gnarls Barkley & The Grey Album fame). This album is more uplifting in sound than her debut . . . not that it’s a good nor a bad thing. Starting things off, she brings out “Phoenix.” It’s a track that blends in the two sounds that her and DM are known for. Featuring his organ work and drum machine orchestration & her silken milky smooth vocals and haunting layers of those vocals, it shows a marriage of sounds that is beautiful in every sense of the word. Following that is her lead single “Carnies.” With it’s retro 60’s pop sound and it’s 80’s digital keyboard input, this song sounds timeless and, somewhat, out of place in today’s market. Fans of Martina would question this song upon first hearing it. Though, once a good two to three times of listening kicks in, you’ll realize she made a great choice in placing this on the album. Giving a more free spirit feeling and less melancholy, even though the wordplay might suggest otherwise(depending on your feelings towards Carnies). “Baby Blue” rides on the wave that “Carnies” creates. Giving a very retro sound to the whole thing, it’s clear that she/they aren’t relying on the 80’s like most others of today. This song and “Shangri-La” sound like they would have been more comfortable in the 50’s than they would on today’s radio scene. Still, it’s very refreshing to have her vocal ability come to the forefront and not fighting it’s way amongst a sea of musical layers. “Yesterday” is the most digital song on the whole release. Featuring sounds that Martina is definitely more noticeable for. With the Caribbean-styled bass and digital glitches abundant, it’s like if Tricky watched too many episodes of Star Trek and had Martina featured on the track. Clearly the gem of the gem of the entire piece is the track “Something To Say.” Starting off with electronic static set to a pattern, and followed by an acoustic guitar, then the rest of the instruments. The song continues without vocals for over a minute into the song. Once the leading lady comes on, the song’s structure begins to change to a more upbeat tempo and mood. Sounding more like a Gorillaz track than one that one would originally associate to Topley-Bird, it’s a brilliant and amazing tune. Fully of hips-sway inducing melodies and an acoustic guitar riff akin to that of the Gorillaz’s “El Mañana” song. This album is gorgeous, but it’s no Quixotic. So, if anyone is expecting that, you’ll be greatly disappointed. But, it is encouraged that you open your mind, your range, and your ears to Martina allowing Martina to have more fun this time around.

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Grey Monday Unchains The Spirit Of Alice

Grunge music. It was such a groundbreaking departure in sound for the late 80’s early 90’s rock music. It was dirty, gritty, grimy, and unapologetic. The artists who made it were the same way. One of the harder of the bands for the grunge movement was Alice In Chains. New band, Grey Monday, channels the spirit of the iconic grunge outfit on their debut album Thirteen Sharp. Housing exactly 13 songs, and each of them very piercing pieces of music, it’s not hard to figure out the naming of this album. The band hails from Switzerland, and is around the same age the members of AIC were when they broke through the Industry’s tape. The crunch guitar riffs of Dömu and the bassy growl of Pad does more than just bring to mind Jerry and Layne. Clearly marking a strong alternative for the pop sound that their country is infamous for. The album opens up to a low rumbling thunderous build-up with the track, “Nightmare.” With distortion run a muck and bass trembling out of your speaker system, you have no choice but to allow your starting weekday to get gloomy with excitement. Steff, the band’s drummer, leaves no head untapped with monstrous authority. This is the type of opener that lets you know Pandora has little to compete against. The band goes into a Heavy Metal frenzy on “Everything,” giving forth gallops galore and intricately simple guitar attacks. Still, the charisma that this young band possesses pulls you in enough that you simply lose yourself amongst their powerfully charged performance. “Hate At First Sight” could easily be a head turning single if they choose to release it as their lead. Pad switches from Layne to Aaron Lewis with his vocal stylings for this tune, and the band, for the most part, follows suit. It turns into a battle between Dömu and Sam(the band’s bassist) for dominance on the tune. GM offers you so much on this track that it’s hard to just sit there and care about merely on facet of it. If you haven’t found your inner badass by the time you come to the song “Come Closer,” then you’re about to meet him/her head on for this cut. This some of the sexiest guitar strumming that has been missing in most of the heavier side of rock music. I’d go so far to say that you should be required to house a Harley in your garage to listen to this song the whole way through. But, don’t think this act is a one trick pony. “Two Coins” hosts their softer more thought-provoking side. Even throwing in a piano melody inside of it to bring out more from their listeners. Though it’s no “Nothing Else Matters” it is a good show of what is to come from this promising act. The most standout track from this brilliant ensemble of music is definitely a tie between “The Vicious Circle” and “Shadow, I Am Your Sun.” The latter featuring, what I feel, is the pure soul of this band. Playing between softer, mellow moments and heavy grunge-tinged power chords, it’s hard not to fall in love with this song. This is what Nickelback wishes they could even try to achieve. The former of the two is the album closer. And, it’s such a grand way to end such a wonderful start. Bringing the force and the growls needed to start hair swinging and bar-top dances. This song is 100% rebel music. The type of music that folks who really go against the grain listens to(or those who wish they could). Matter of fact, the whole album is that way. And, the way it was made doesn’t show the band’s immaturity. Truly, fans of this genre should rejoice that they have new champions to hold up as representatives for their pent up and held back aggression.

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Magnetic Morning Draws In Listeners

Adam Franklin (of the bands Swervedriver & Toshack Highway) & Sam Fogarine (of the band Interpol) have teamed up and created The Setting Suns, then renamed it to Magnetic Morning . . . and released a self-titled five (5) song EP. Filled with vibrantly smooth guitar work and purely driven drumtracks, the album stands tall on the path to a very productive side-project for both members. They released the album on Record Store Day to help give a nod to those record stores theat refuse to die easy to the corporate giants. On the first track “Cold War Kids,” you’re greeted with softly alluring guitar plucks and subtle yet sober bassline. When the drums kick in and Franklin starts vocally stirring up the mix, it’s officially too late. They have you stuck to them like a paper clip to a horseshoe magnet. Franklin’s voice is like velvet over top of this retro slow-pop musical masterpiece.  The two-piece follow that delightful tune up with an equally mesmerizing one titled “Yesterday’s Flowers.” Again, following the formula of Pop music’s greatest decade, Forgarine’s drums give way to the two-step & sway motion that was popular during that time. The second track of this EP fits well in the backdrop of a very lonely and saddening moment, and for a the first kiss between a newly formed couple at a school dance. “The Way Love Used To Be” is a song that reminds you of the way movies used to be. Specifically Cameron Crowe ones. They pick up the tempo for this one, but don’t kill you with adrenaline or speed. It’s just soft enough to throw you in the flow of the breeze while you’re enjoying a smooth day skateboarding, surfering, or even cruising around in your convertible that only comes out during the summer months. The music plays the key figure of this tune, even slowing down so you can really take a moment to pay attention to the very delightful details at the end, and Franklin’s voice is just along for the assist. The slowest and most introspective song on here is the strangely titled “DontGoToDreamState.” No, that’s not a typo on my part. That’s the actual song title. It can be compared as the sonic interpretation of the space between being awake and sleeping. The place where everything is hazy, but you can still make out what’s going on if you look closely. Which makes it hard to try to listen to the plea to not enter the dreaming world. The only reason I could see not slipping to sleep would be due to the fact that you’d miss the reprise of the first song called “Cold War Kids (Get Claudius).” Sounding just a big more dynamic and orchestrated than the original. Or, that just could be something my imagination created because Franklin’s vocals are not present for this rendition. But, then again, being that it is longer than the original, I must retreat back to my basic instinct on this song. All in all, this new side project, which is renamed after half of a split EP Franklin’s band Toshack Highway had with Sianspheric, is not only charming, but captivating in a sense of pop music that most only border around and few actually dive in completely.

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Death Cab Reaches For A New Floor With Stairs

Death Cab For Cutie. You know them. Everyone who is into Indie Rock music knows them, or has, at least, heard their name. With nearly each member becoming a hallmark in modern Indie Music as well as the band itself being the vocalized expression of the generation that followed after Generation X, they’ve created quite a prolific rap sheet. Now, they have a new album, Narrow Stairs, that they recorded in a new fashion for a new sound. The Quartet from Washington kick things off in this new gear with “Bixby Canyon Bridge.” What begins as a seemingly normal DCFC song, ends up becoming an all out Progressive Post-Rock musical assault. With guitars blazing and Gibbard merely humming along to provide an extra layer of sound, the song is a serious departure from the run-of-the-mill Death Cab sound. Following after that is the lead single, I Will Possess Your Heart. As most of you have already heard, the killer bassline and eerie ambient synth, not to forget the brief piano melody, to this track is what opens it up. Then, comes the enchanting light guitars, which is followed up by the hypnotizing drumtrack. For a moment, you’re not even sure if this is DCFC, anymore. It isn’t until around 4 mins and 42 seconds that Gibbard cuts through the music with his all too familar vocals. Even on “No Sunlight,” the band weaves in and out of familiar territory. The chorus and vocals are ordinary for the crew, but the music has a more . . . how would you say, “grimey” and unpolished feel to it. Sounding more like a veteran band that played together for years upon year, and, then, finally getting the chance to go and record an album. There’s professionalism with the way this is forged, but that’s something they’ve always had. With Narrow, though, they bring out a new hunger. Even when they stray back inside of their more comfortable area, they still sound refreshing, as the songs were recorded with the band together, and not individually recorded pieces put together. For “You Can Do Better Than Me” the crew pushes their music to a more pop sound from the late 60’s/early 70’s. The lyrics, skillful as always, fully pushes out how it feels to truly be in love with someone. To feel like they are grand leaps of levels above you, and you’re not only lucky, but confused at how you’re actually with this person. “Pity And Fear” houses a middle-eastern influence. Which, to say the least, is pretty surprising from the act. “The Ice Is Getting Thinner” would have to be the most easily recognizable amongst the tracks as something you’d expect from this band. With the soft keyboard and guitar/bass going along with it, you’re allowed to feel “at home” again with the band. Though, that might be a good/bad thing, depending on how you take in the rest of the album. Clearly, “Grapevine Fires” is a stand-out track. Having drums calls out to the little soldier inside of every person and a good combination of Indie and Pop sensibilities, this song has to end up one of the singles from the band, and could actually end up being the biggest hit single from this crazy, yet insanely smart collection of songs.

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It has come to my attention that…

Ok, so, I’m fairly new to the public net, now. And, I didn’t expect a grand following for some time to come. As is, I still don’t have one. Though it isn’t a burden to me, I’ll just keep trekking on in hopes of actually being able to get paid for something I love to do in the future.

With that being said, I’ve recently found out that some of my reviews on things have found their way on blogs/pages/sites of others. Though I’m not bothered by this at all, I do just say that you link back to where you got the review from. If you’re using my review(s) for illegal purposes, allow me to again state, I have NOTHING to do with that. I do take pride in the free advertisement . . . make sure you post my blog! I need hits and I need a following! I’m not ranting for my health, people.

Still, I do thank everyone for their reading and liking of my statements. And, if reading my reviews helped you find a new band/act/movie/whatever that you have newfound love for, then I’m doing my job better. Or, if it properly depicts your angst for the list of stuff stated in the previous sentence, then, again, I’m glad to be of service.

Again, thanks for the love.

Appleseed Grows Creative Trees

Appleseed is one of the most amazing pieces of Japanese animation in modern years. Sure, there was a sequel, and even the stunning films Vexille and Karas, that followed after this film. But, that’s just the point, it followed after ApSe. Much like it’s “Sister” film, Ghost In The Machine, ApSe totally blazed a trail in the action department of Anime. With an opening segment that drops jaws and soil draws, it’s hard to feel like you’re not in for the ride of your life. I mean, yeah, sure, the storyline isn’t on the scale of Akira or a charming film by Hayao Miyazaki, but the action + soundtrack easily makes up for that. They didn’t just rely on drawing out the sequences then digitally mapping them with a 3D render. No, not for this film. They went ahead and used motion capture technology to have it as life-like as Sci-Fi Fantasy animation would allow.

Here’s a quick rundown on the story:

There’s this badass legend-in-the-making special forces chick named Deunan Knute who gets rescued and then “captured” to help run things over at Olympus, which is a virtual metropolis utopia created after the Third World War in 2131. Olympus is 50% Bioroids, which is basically extremely human-esque androids. The Bio’s are peaceful and passive. Humans, not so much. Deunan’s ex-lover/ex-squad leader, Briareos Hecatonchires, is now like a super Robocop type dude who also works on the military side of Olympus. Some “outsiders” come to bring bullets and explosions to Olympus, and stuff just goes down the traditional road from there.

I’m not going to sit here and type out the whole synopsis of the film. Why? Because I know some of you folks still haven’t seen this marvelous flick. To that, I say SHAME ON YOU! And I urge you to go and check it out IMMEDIATELY . . . or as my Spanish speaking friends would say “RAPIDO, MUCHACHO!” Oh, did I mention that it has a devastatingly good soundtrack? I did? Well . . . allow me to dwell on that for a moment, shall you? Good.

The soundtrack features work from various Big and Small names in the electronic music department. From All-Across the board Electronic Japanese duo Boom Boom Satellites to the world-renowned dance music master Paul Oakenfold, the soundtrack just trumps. Even the musical score by Tetsuya Takahashi is stunning and soul stirring. The deluxe version of the bloody thing houses both the Score and the songs featured in the film. If anything, opt for that one, folks.

Though it wasn’t the first in its field to be created, it was definitely one of the best. Some can argue that Advent Children was better. To which I couldn’t argue there. But, the fact remains, ApSe was released first. So, AHA! Not to mention the designs were completely different, but that’s just too obvious to point out, isn’t it? Still, ApSe allowed folks to look deeper into what was created here, and, then, go forth and multiply on top of that. The last hallmarking Japanese Animation movie to do that was, again, it’s “sister” film Ghost In The Machine which inspired the monumental feature film franchise The Matrix. So, don’t be surprised if you see something live-action that, somehow, reminds your action taste buds of a little old seed from an Apple.