Living in the sub-tropics means that spring comes both early and ends quickly. Not two weeks ago we missed 5 days of university because of snow (admittedly it was kind of a fluke) and now for the past few days the weather has been dominated by mid-70’s temperatures and a lot of sun. Pretty soon those mid-70’s will be phased out by mid-90’s and a whole lot of humidity, but the cool thing about such a short spring is that you become all the more aware of how you’re environment changes and grows with the coming of the heat. You can physically see wildlife burst into periods of growth and begin to spread through the dormant landscapes of winter and watch the progression from the infancy of seedlings into the lush greens and browns that were painfully absent in the frigid temperatures.
A change in seasons also brings with it an entirely new environment in which to listen to music. I’ve always listened to music for its impressionistic and expressionistic qualities, so the environment I choose to listen to music in has to be evocative in some way of the world the music is trying to build. Winter has its strengths no doubt, but humans were designed by nature to exist in nature, and winter all too often forces man to break that connection with walls of comfort. Spring is the natural relief from this state, an invitation for us to come out of our warm houses…
Here’s a list of major new releases for the week of March 11, 2014. Please feel free to request reviews for any of the following albums from staff or contributors.
311 – Stereolythic (311 Records)
Aloe Blacc – Lift Your Spirit (Interscope Records)
Angel Vivaldi – Away With Words – Part I (Indiegogo/Big Cartel)
Architects – Lost Forever // Lost Together (Epitaph)
Charlie Oxford – Charlie Oxford (Rock Ridge Music)
Dean Wareham – Dean Wareham (Double Feature)
Don Williams – Reflections (Sugar Hill/Universal)
Elbow – The Take Off And Landing Of Everything (Concord)
God Module – False Face (Metropolis Records)
Juanes – Loco De Amor (Universal Latino)
Laibach – Spectre (Mute)
Ledisi – The Truth (Verve)
Max Cooper – Human (Fields)
Metronomy – Love Letters (Elektra)
MØ – No Mythologies To Follow (RCA)
Nervosa – Victim Of Yourself (Napalm Records) – Brendan Schroer
Qui – Life, Water, Living… (Cobraside)
Sara Evans – Slow Me Down (Sony Nashville/RCA)
September Girls – Cursing The Sea (Fortuna Pop)
Young Money – Rise Of An Empire (Universal Republic)
Architects – Lost Forever // Lost Together
Dean Wareham – Dean Wareham
Max Cooper – Human
Metronomy – Love Letters
SputnikMusic’s Most Played Artists of the Week (according to Last.FM):
1. Real Estate
2. The Hotelier
3. Cloud Nothings
4. Morbus Chron
5. St. Vincent
6. Neneh Cherry
7. Animal Collective
8. Dark Tranquility
9. Sun Kil…
Have you ever been nervous before a gig that you have attended? Sure, there’s always some nervous energy, or even some nervous form of excitement if you’re looking forward to the act(s)… But I’m talking genuine nerves here. Because it happened to me for the first time a week or so back. New York funk-metal quartet Living Colour have always been one of my favourite bands, and I unfortunately was not in a position to have seen them live during their ‘90s heyday. So I was never going to miss them on their first visit to Australia in well over a decade.
To put it bluntly, however, Living Colour are now old. Lead vocalist Corey Glover especially looks it; having transformed from the spandex-wearing, dreadlocked front-man of yesteryear into the grey-haired, grandpa cap wearer of today. The very little I had seen of them playing via YouTube and the like seemed to suggest an overly earnest show which lacked energy and relied on high – but faltering – technicality. Those around me didn’t help the predicament, with a higher than usual drunk factor and many a googling youngster asking “Who’s Living Colour”?
Well, I must have seen the wrong videos, because Living Colour thankfully blew my mind. And it didn’t take long for the nerves to be shaken out of me, with the earth-rattling low end of their set opener – Robert Johnson cover ‘Preachin’ Blues’. Talk about a band in sync! These four could all…
So, last week I had the fortune of talking to one of my absolute favourite musicians, Paul Masvidal of Cynic. Cynic is a band that needs no introduction among the metal and progressive rock communities, having released two highly influential and respected albums that amalgamated both genres into a unique sound that has aged like wine through the years. The nature and origin of their third full-length album, Kindly Bent to Free Us, reveals a new side of the band and portrays a sound that is uncharacteristically calmer, and more slow-burning than anything we’ve heard from them in the past. Luckily, I got a chance to speak with the legendary frontman himself, and had him dissect the album in his own words, as well as confess what he foresees to be the next big journey for the band.
Anyway, without further ado, here is my interview (hey, that rhymed!):
Ever since Traced In Air came out, you guys have kind of been steadily peeling away the death metal sounds that were present in Focus, and evolved into a band with a far more abstract sound. Every thing you guys have been doing since the release of Focus, has become more experimental, more melodic, and you guys have even been emulating the cosmic sounds of the ’60s and ’70s a lot more as well. What inspires you guys to direct the music of the band into new…
, Kindly Bent to Free Us
, Season of Mist
Here’s a list of major new releases for the week of March 3, 2014. Please feel free to request reviews for any of the following albums from staff or contributors.
Arthur Beatrice – Working Out (Harvest Music)
Ashanti – Braveheart (Written Entertainment/eOne Music)
Axxa/Abraxas – Axxa/Abraxas (Captured Tracks)
Bart Davenport – Physical World (Lovemonk)
Bruised But No Broken – Fragment (Standby Records)
Carla Bozulich – Boy (Constellation)
Carnifex – Die Without Hope (Nuclear Blast America) – Brendan Schroer
CHON – Woohoo! (Equal Vision Records) – Jacob Royal
Color War – It Could Only Be This Way (Four Horsemen Records)
Comeback Kid – Die Knowing (Victory Records) – Adam Thomas
Damaged Bug – Hubba Bubba (Castleface)
Drive-By Truckers – English Oceans (ATO Records)
Eternal Summers – The Drop Beneath (Kanine Records) – Irving Tan
Fuel – Puppet Strings (MRI Associated)
Imogen Heap – Sparks (RCA)
Information Society – Land Of The Blind (Hakatak International)
Jupe Jupe – Crooked Kisses (Jupe Jupe Music)
Kandle – In Flames (Dare To Care Records)
Kimono Kult – Hiding In The Light (Neurotic Yell Records)
Lea Michele – Louder (Columbia)
Linda Perhacs – The Soul Of All Natural Things (Asthmatic Kitty)
Love American – Hollow Crosses (Love American/Bandcamp)
The Men – Tomorrow’s Hits (Sacred Bones) – Adam Downer
The Mighty Fine – Brothers And Smugglers (Creator-Destructor Records)
Morbus Chron – Sweven (Century Media) – Hyperion
Morning Glory – Was Psalms (Fat Wreck Chords)
I was playing pub trivia earlier this week with some friends, and one of the rounds was “Disney by Decade”. I knew this was coming because the ultra-shitty hostess was playing “A Whole New World” and “Part of Your World” and probably some other songs with “World” in them (perhaps “Two Worlds” was played, but Phil Collins gets a pass from me because it’s better than listening to 3 hours of Lilith Fair music, as is tradition in the hostess’ usual playlist).
Como si dijiera una palabraaaaaaaaaaa!
Anyway, we aced the round (Can you name 3 out of the 5 animated films Disney released in the 1980s? How about the 2 animated films from the 1970s where a lion is depicted as royalty? I can’t remember the other questions because, you know, it’s a bar), simply because the girls on our team know their shit (my contributions rely solely on sports, music, and maybe books; in other words, I would get my ass kicked on Jeopardy! in every direction imaginable).
Speaking of which, fuck this guy:
What the hell is a 'compliance analyst', anyway?
If you don’t recognize him, take a listen to this smarmy asshole. Hunting for the Daily Doubles is brilliant, but only wagering just enough to advance to the next day is a bitch move (in my opinion, you play to win the game).
On that note, onto the…
One of the most difficult things about becoming an emeritus of sputnik is discovering amazing new artists and lacking any time whatsoever to communicate that interest to others who care about music. Since “graduating” from sputnik, or “becoming part of the force” (or whatever silly analogy makes sense to you), music has become an increasingly intimate thing to me. I don’t spend as much time searching for new artists, analyzing them, and especially writing about them. But when I encounter something I have a true admiration for, I typically find myself desperately striving to achieve five hours of sleep while finishing up lesson plans, grading papers, planning a wedding, and performing household duties. And all so I can wake up and go to work exhausted again. Needless to say, it’s a busy time for me and I regret that I don’t have ample time to review everything that I feel passionate about (i.e. Snowmine’s new record Dialects, which I heartily recommend to all fans of atmospheric alt/indie). So, in lieu of two reviews that I really want to write but have absolutely no time to, I present you with the first of what may be a continuing string of brief passages concerning artists and new albums that I have found to be exceptional.
Run River North – Run River North
At first I wasn’t sure what to make of this band – they clearly have a knack for accessible songwriting akin to Of Monsters and Men,…
Jonas Thire (drums), Torgeir Kjeldaas (bass), Espen Helvig (guitar), Larsh Kristensen (vocals, guitar)
Following a record that set out an impressive stall isn’t easy. Late Love was an invigorating debut that saw Oslo-based Wolves Like Us delving into dark post-hardcore with massive riffs, angular melodies and commendable tightness. It effectively revived the spirit of such acclaimed 1990s collectives as Quicksand and Drive Like Jehu, ditching the trends that have subverted the genre in the last 15 years. Black Soul Choir manages to sidestep the dreaded second album slump by expanding the quartet’s winning formula. The skeleton of the tracks still revolves around traditional post-hardcore attributes like throbbing bass lines and frenetic drum-beats, yet the focus is shifted towards atmospheric soundscapes that make the group’s brand of post-hardcore even more brooding. This shift also informs a more expansive approach to songwriting. The tracks usually take more time to unravel, which makes for a significantly more nuanced and moodier effort. Here’s my interview with the act’s charismatic frontman, Larsh Kristensen.
You’d played in lots of groups before forming Wolves Like Us. What compelled you to play together and form the band?
I think we all still had the desire to play. We all love playing music, and to a certain extent is is the only factor that has remained constant in my life. I’ve always played, and this band is just an extension of that. I don’t think I’ll ever stop playing music. So…
Here’s a list of major new releases for the week of February 25, 2014. Please feel free to request reviews for any of the following albums from staff or contributors.
Barzin – To Live Alone In That Long Summer (Monotreme Records)
Beck – Morning Phase (Capitol/Universal) – Rudy K.
Bleeding Rainbow – Interrupt (Kanine Records)
Brandt Bauer Frick – DJ-Kicks: Brandt Bauer Frick (!K7)
Dierks Bentley – Riser (Capitol Nashville/Universal)
Doomsquad – Kalaboogie (Hand Drawn Dracula)
Drekka – Ekki Gera Fikniefnum (Dais Records)
The Fray – Helios (Epic)
InDirections – Clockworks (InVogue Records)
Lo-Fang – Blue Film (4AD)
Major Lazer – Apocalypse Soon (Mad Decent)
Mike Gordon – Overstep (ATO Records)
Neneh Cherry – Blank Project (Smalltown Supersound)
New Bums – Voices In A Rented Room (Drag City)
The Notwist – Close To The Glass (Sub Pop)
Patten – ESTOILE NAIANT (Warp Records) – Hyperion
Priscilla Ahn – This Is Where We Are (SQE Music)
Runaway Dorothy – The Wait (Rock Ridge Music)
Scattered Bodies – Talking Songs (Dream Tower Records)
ScHoolboy Q – Oxymoron (Interscope Records) – Aziz
St. Vincent – St. Vincent (Loma Vista/Republic) – Greg Fisher
Twin Forks – Twin Forks (Dine Alone)
Untold – Black Light Spiral (Hemlock Recordings)
Wild Beasts – Present Tense (Domino)
Yellow Ostrich – Cosmos (Barsuk)
Barzin – To Live Alone In That Long Summer
Beck – Morning Phase
Bleeding Rainbow – Interrupt
Dierks Bentley – Riser
“Friends,” said I, “what song, if any, might make you stop mid-coitus because the mood was so irreparably damaged?” Several comments later, we had this hot new track from Adam Corey Thomas.
Chris Brooks (keys, vocals), Nate Bergman (vocals, guitar), Henry Upton (bass)
Here’s my interview with Henry Upton, the bassist for Maryland-based Lionize whose phenomenal new album Jetpack Soundtrack dropped on February 18th.
I’m of the opinion that people from many musical backgrounds can embrace your music as you combine so many styles. How would you describe your sound? Who do you think your target audience is?
I would probably call it groove rock. Or just rock music at this point. Our target audience is really anybody who is an avid music listener. I think we are accessible to the casual music fan as well, but we really covet the die-hard music enthusiast. Whatever genre that might be.
In the course of your decade-long career you’ve released five stylistically diverse albums. I guess the main shift was from the reggae-inspired Space Pope and the Glass Machine to Destruction Manual. What exactly dictated the change towards the heavy rock aesthetic?
Looking back it’s kind of hard to say. We were touring with reggae bands as well as rock acts. I think we just started to listen to different types of music and wanted to expand the sound of the band. We’ve always been big on Zeppelin, Sabbath, Deep Purple, etc. and grew into reflecting those influences. There was no conscious decision to change anything. It just happened.
You tour a lot, and have shared the stage with a multitude of different artists. What…
Here’s a list of major new releases for the week of February 18, 2014. Please feel free to request reviews for any of the following albums from staff or contributors.
Angel Olsen – Burn Your Fire For No Witness (Jagjaguwar)
Ashley Riley – All The Pretty Things (Riled Up Records)
Bayside – Cult (Hopless Records)
BossaCucaNova – Our Kind Of Bossa (Six Degrees)
Candice Glover – Music Speaks (Interscope Records)
Cynic – Kindly Bent To Free Us (Season Of Mist) – Jacob Royal
The Feeling – Boy Cried Wolf (BMG)
Guided By Voices – Motivational Jumpsuit (Guided By Voices)
I Killed The Prom Queen – Beloved (Epitaph)
Issues – Issues (Rise Records)
The Jezabels – The Brink (PIAS America)
Junius – Days Of The Fallen Sun (Prosthetic Records)
Kevin Seconds – Off Stockton (Rise Records)
Lionize – Jetpack Soundtrack – Greg Fisher
Lost In The Trees – Past Life (Anti Records)
Lucy – Churches Schools & Guns (Stroboscopic Artefacts)
Phantogram – Voices (Universal/Republic) – Brendan Schroer
Planningtorock – All Love’s Legal (Human Level)
Slough Feg – Digital Resistance (Metal Blade) – Adam Thomas
Solids – Blame Conclusion (Fat Possum)
Suzanne Vega – Tales From The Realm Of The Queen Of Pentacles (Amanuensis Productions)
Vales – Wilt & Rise (6131 Records)
We Are The In Crowd – Weird Kids (Hopeless Records)
William Fitzsimmons – Lions (Nettwerk Records)
Angel Olsen – Burn Your Fire For No Witness
Cynic – Kindly…
The other day, I stumbled upon a most brilliant piece of satire: The Chainsmokers’ new single “#SELFIE (out now on typically straight-faced Dim Mak Records). Every single element of the track scoffs at what we’ve taken to be the norm nowadays in the #PLUR region of the musical map, and it does so exquisitely. The satire is so prevalent, in fact, that you’d be hard-pressed to find a single part of “#SELFIE” which doesn’t poke fun at something. The vocal sample is clearly the focal point of this satire – an extended cut from the voice of a woman, most likely drunk and wearing a shirt that says “EAT SLEEP EDM” or “KEEP CALM AND RAVE ON,” as she lauds the hedonistic life of sleazy guys, Instagram filters, Internet stars/models, and clubbin’ in America in the year 2014 (sample anti-poetic gem: “Did you see her? She’s so short, and her dress is so tacky. Who wears cheetah?). And, of course, at the song’s climax, she delivers the clincher, everything The Chainsmokers take to be wrong with today’s scene distilled into five beautiful words: “Let me take a selfie.”
Beyond that wonderful verbal commentary, though, lies an ocean of mouthwatering deceit. Take the song itself, for example: it’s as generic as they come, with two low-register notes repeated over and over again pre-drop and the exact same synth texture post-drop, the standard snare/clap doubling over and over again until a drop that can only be described as “#EPIC,” and repetitive, grating…
We all need feedback. Sure, the more you write, the more you understand what not to do- but the best approach to take with writing can sometimes be an elusive thing. In helping me with my Of Montreal review a couple years back, our dear Rudy pointed out that I used the word “frothy” in a hilariously incorrect way. Even MichaelJordan probably ran his anti-Circle-Takes-The Square reviews by his roommates before shit-posting them onto this site.
“Where are the jabs at the unnecessarily obtuse lyrics, MJ? Elaborate on those, man.”
Nevertheless, it’s safe to say that this is a good time of the year for constructive criticism. Hot on the heels of promotions, some of you ended up with an official title on the site (and an avatar that’s too big, just because why not,) and as a result, want to make sure your writing’s up to snuff. On the other hand, some of you may be wondering why you didn’t land the position for which you aimed- maybe you’re confident with your writing, but don’t know what’s missing. Or perhaps you simply post here because you like talking about your favorite records, and have been looking for more solidified feedback for quite some time.
The point of this blog post is to provide a place on the Sputnik review site where you can post a review in a comment below- and receive feedback fairly soon. Reminder: the forums side of this site has a Proofreading…
, making my writing less bad since 2014
Here’s a list of major new releases for the week of February 11, 2014. Please feel free to request reviews for any of the following albums from staff or contributors.
Abandon All Ships – Malocchio (Rise Records) – DaveyBoy
Aesthetic Perfection – ‘Til Death (Metropolis Records)
Band Of Horses – Acoustic At The Ryman (Brown Records)
Cashmere Cat – Wedding Bells (LuckyMe)
Cibo Matto – Hotel Valentine (Virtual Label)
Clan Of Xymox – Matters Of The Mind, Body & Soul (Metropolis Records)
Death Of Samantha – If Memory Serves Us Well (St. Valentine Records)
Eric Church – The Outsiders (Universal Nashville)
The Fleshtones – Wheel Of Talent (Yep Roc Records)
Frankie Ballard – Sunshine & Whiskey (Warner Nashville)
The Glitch Mob – Love Death Immortality (Glass Air) – Will Robinson
Helms Alee – Sleepwalking Sailors (Sargent House)
Jay Malinowski & The Deadcoast – Martel (Pirates Blend/Sony Music Canada)
Katy B – Little Red (Rinse/Columbia)
Loners Society – King City Sessions (Autumn + Colour)
Maggie McClure – Time Moves On (Maggie McClure Music)
Modern Baseball – You’re Gonna Miss It All (Run For Cover Records)
Neil Finn – Dizzy Heights (Lester Records)
Noah Gundersen – Ledges (Dualtone Music Group)
Sam Roberts Band – Lo-Fantasy (Paper Bag Records)
Sun Kil Moon – Benji (Caldo Verde)
Temples – Sun Structures (Fat Possum Records)
Thumpers – Galore (Sub Pop)
Tinariwen – Emmaar (Anti Records)
††† – ††† (Sumerian)
Band Of Horses – Acoustic At The Ryman