The Torn ACLS + Cedar-By-the-Sea

OTO Rating: 8/10

Upon pulling away the plastic sheath and unveiling what came to be the latest creation of two young lads by the name of Will Cremin and Miles Ranisavljevic, one couldn’t help but be struck by the moniker bestowed upon this band. Images of athletes on crutches and long stints on the DL were conjured up, leaving me to wonder exactly what it was I had gotten myself into.

But as I placed the disc in its cradle and pressed the button called ‘play’, I was immediately taken away by a smattering of applause which right before my very ears was being slowly manipulated into a driving, percussive rhythm. An attention-grabbing intro that left me thinking, “wow…that was cool.” So, like with any good piece of art, I had no choice but to shed my apprehension, reach out my hand, and go along for the ride.

Let’s just say, I’m glad I did.

The EP/story begins with the track, “Reputation”, and it seems the hopelessly gambling addicted subject of this tune has finally reached the end of his troubled rope. His bookie has arrived to collect, and despite repeated attempts at stalling, the game is finally up. The call-and-response vocals drive this track, along with the stop-start drumming and a frenetic bass-line. The cheery glockenspiel notes ringing throughout masterfully taunt our subject, leading him to think things might, just might, be okay. Unfortunately, the antagonist here has a reputation to uphold.

Track two hits and……is that a Theremin I hear?? No, upon further research I discover its a saw being skillfully manipulated by Ranisavljevic to produce an atmosphere nothing less than, well, spooky. And when Cremin leans into the mic to implore, “if the nervousness doesn’t get you, I just don’t know what will”, many emotions arise, chief amongst them, paranoia.

The EP’s centerpiece, “Brother Twelve”, makes a statement right out of the gate with a pounding bass drum and a vocal narrative describing the history of a religious cult formed in the 1920’s in Washington state. It’s the detailed storytelling here that draws the listener in and the ‘loud-quiet-loud’ musical accompaniment that digs its claws in and keeps you put. “Obsessively, Compulsively” closes out the set, continuing right along with excellent song structure and just the right amount of something unexpected. Just when you’ve been lulled into a state of repose by an engaging Hammond line, a wall of jagged distortion reminds you that although the record has ended, the story has not.

The idea of a concept album is traditionally something only attempted on the sprawling canvas of a full-length LP. But in the case of ‘Cedar-By-the-Sea’, these boys have taken the phrase ‘less is more’ to heart. In doing so, they’ve created a piece of music that much like an addictive short story, is hard to put down.

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A fluid, stream of conscious melody with subtle snap and fresh lyrics opens up Jaymay’s album Autumn Falling. The track, “Gray or Blue,” is at once tight and airy, accessible and shy, and a suitable introduction to the debut released in March on Blue Note Records. With the release Jaymay (aka Jamie Seerman) moves past New York’s open-mic scene and using the momentum built with the climatic coupling of Autumn Fallin’s release and her noteworthy performances at SXSW in Austin (both took place during the same week), she launches herself onto the painfully crowded pop/folk/indie circuit.

She should have little trouble carving out a niche for her music.

Take tracks six and seven.

The track “You’d Rather Run,” reincarnates a rambling Dylan epic: tingling xylophones, erratic but soft harmonica and piano trinkets, a ribbon of violin appearances, a persistently forceful percussion background, an epic length just shy of ten minutes, a dense landscape of traditional instruments slackly choreographed. The song thickens into a world of its own, sonicly isolated but inviting.

And then hits track seven. And it hits hard. With a bit of mouth trumpet and a catchy show-tune pace, “Hard To Say” unfolds in a quick two minutes reversing the pace set by “You’d Rather Run.”  This pair of songs embodies the range and power of Jaymay’s voice and melodic sensibilities. And though range may sometimes imply lack of focus or scattered concepts not fully realized, Jaymay manages to keep the
album on track with intention and artistic organization.

The album hits with a tonic combination of organic and folky, clever and fresh, creative and referential, sweet and forceful. For any ardent follower of the singer-songwriter genre, or those long since tired of it, this album should be a refreshing experience.

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In another boldly creative interaction with piles of able and active listeners, Radiohead is offering up an entirely new “album” (and concept) on iTunes. Again preempting the sonic pirate, Radiohead is offering up the fruits of its labor for download, but this time with an open invitation and organized competition to remix the track “Nude” featured on In Rainbows. Those interested can buy up the stems, use other beats, pieces, and parts, slice, dice, speed up, slow down, tweak or reinvent the entire track. The new creator names and uploads the Frakentune onto Radiohead’s website and then visitors can vote for their favorites. The voting ends May 1st and what lay ahead for the winner is unpublished, but according to the website the group “will listen to the best remixes,” which seems to be enough incentive. The cross-marketing and artistic collaboration is sheer genius. Radiohead’s website directs users straight to iTunes to purchase the “Nude” package that includes stems for the bass, drum, guitar, string fx, and voice, along with the original cut of the track from In Rainbows — Apple is even offering a GarageBand file of the song for those who buy the Nude (Make Your Own Remix) album by April 8th. Each stem costs just as much as the completed track, so the six-piece remix set totals out to around six dollars. As usual Radiohead’s financial interests, artistic prowess, and genuine communication with listeners coincide with forceful marketing genius that has a way of revolutionizing the music industry. The album has been available for download for less than a week and already 730 participants have posted remixes and thousands of visitors have cast votes.

To listen to entries, vote, or read more visit: www.radiohead.com.

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Juno Soundtrack + Rhino Records

Masterful lyrics dripping with indie quirk and organic acoustic with some sound experimentation successfully complements the standout “indie” film of the year, “Juno.” Jason Reitman, recognizing the role of music in any well-executed indie film took the reigns of the soundtrack’s production and successfully developed a precise sound to support and almost mirror the narrative elements of the film. Prompted to bring in The Moldy Peaches by Ellen Page, the actress portraying Juno, Reitman builds around the sound of Juno’s would-be-favorite-band and its co-founder Kimya Dawson who supplies the thematic backbone of the album.

A poetic alter-ego of Raffi and master of posited precociousness, Dawson threads a continuous and effective sound throughout using sometimes innocuous and sometimes shocking lyrics that feed into, reflect, and accentuate, the forced maturation and explorations of the film’s leading lady. Page and co-star Michael Cera lay down a cover of “Any One Else But You” as the last on the album and though it sounds horrible, it captures the beauty in truth idyllic of indie. Faux or fab is a matter of taste, but Dawson, Belle and Sebastian, The Kinks, Antsy Pants, and Velvet Underground supply ample meat so the Page/Cera track is a cherry on top and not thinned out or self-important.

The soundtrack is stand alone and someone looking for a mix tape of minimally distorted acoustic, clever lyrics, and adequate homage to important roots would find it worth the money as either a counterpart to the film, a guided journey, or both.

Track listing:

——————————————————————————–
01 All I Want Is You Barry Louis Polisar
02 My Rollercoaster (Juno Film Version) Kimya Dawson
03 A Well Respected Man The Kinks
04 Dearest Buddy Holly
05 Up The Spout Mateo Messina
06 Tire Swing Kimya Dawson
07 Piazza, New York Catcher Belle & Sebastian
08 Loose Lips Kimya Dawson
09 Superstar Sonic Youth
10 Sleep (Instrumental) Kimya Dawson
11 Expectations (Remastered Version) Belle & Sebastian
12 All The Young Dudes Mott The Hoople
13 So Nice So Smart Kimya Dawson
14 Sea Of Love (Remastered Version) Cat Power
15 Tree Hugger Kimya Dawson & Antsy Pants
16 I’m Stickng With You The Velvet Underground
17 Anyone Else But You Moldy Peaches
18 Vampire Antsy Pants
19 Anyone Else But You Michael Cera & Ellen Page

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LCD Soundsystem + Sounds of Silver

OTO Rating: 8/10

Domesticated Disco-Punk

Lean and mean from start to finish, Sounds of Silver is LCD Soundsystem’s most cohesive, polished and accessible album to date. Avoiding the cluttered and bombastic beats of previous albums, front man James Murphy streamlines mixes and slows introductions of sound shifts effectively thickening crescendos and enhancing climaxes. Per usual the lyrics aren’t standalone and act as sparse, repetitive punctuations in brashly hypnotic patterns, but the album showcases more engaging and thoughtful verses by shifting some emphasis onto words.

Sounds of Silver is the clean actualization of the leading man’s own standards and aesthetics – it is Murphy perfected. There is nothing revolutionary to be found in its tracks, and with few risks come few rewards. Devoted fans looking for innovation will most likely be disappointed, but new listeners will find a pristine collection of tracks acting as gateway to the group’s earlier work. The pressure is on for the group’s next release as this album has exhausted the option of rehashing the well-worn grooves that have worked so well in the past. If the group’s sparkling work before Sounds is any indication, Murphy and Soundsystem are capable of dancing out on a limb and weaving new quirks, flairs, and sounds into far out and spasmodic epics. We wouldn’t want them to get too systematic.

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Alexis Gideon + Flight of the Liophant

OTO Rating: 6/10

Audio alchemist Alexis Gideon doesn’t produce shimmering nuggets of ill-begotten gold, but his laboratory shufflings mushroom into symphonies of explosions, clattering, and digital chattering that builds into a sonic crescendo deserving a thoughtful, if schizophrenic, ear. The quirky vignettes set a base layer for hilarious, often immature, and always random flowing that comes out of no where and returns as quickly as it appeared. In his first solo album, Flight of the Liophant, Gideon unleashes a frantic and passionate explosion of sounds obviously plucked from a talented mind, but the delivery is so fractured that the album feels like pages of poetry crafted, shuffled, and rebound. Still intact are superbly concocted blends of organic Americana acoustic, drum and bass, experiential ranting and raving, lo-fi arcade musings, and a grab bag of other sounds perhaps identified better by the performer or those more talented at the isolation of audio than I. I see promise, talent, creativity, and sometimes brilliance, but the packaging is too flighty for it to be durable and stand up to multiple listens. The album shows range but only glimpses of discipline – if he can throw in a bit of precision we might just have a keeper.

Track listing:
01 Maybe It Was May
02 Liophant
03 Your Eyes
04 Waves In Waves
05 Gone Goodbye
06 He She
07 Light
08 Greenroom Tea Time
09 Lastly
10 Wake Up Wake Up
11 Sweet Deream (For My Irish Lass)

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OTO Rating: 9/10

     Is it a coincidence Leaves in the River is released only mere days after the official Autumn Equinox? I doubt it. Like the symphony of crisp autumn leaves drifting into the chilly fall breezes, Sea Wolf echoes deep lyrics that swoon with gentle reflection, introspection and sentimental thoughts. Sea Wolf front man, Alex Brown Church, warmly crafts an album I envision listening to while cuddling up with my sweetie, sipping on spiced cider, or walking through a forest of red, orange, and yellow hues.

      While this is Sea Wolf’s first full-length release, Church manages to sink deep into low-key singer/songwriter tunes, with a profound sense of beauty. Church’s array of studio acquaintances and musical friends add everything from piano, accordion, and keyboards to a seemingly endless supply of cello and violin to the songs that creates a magical mix. It adds some layered delightfulness to the album, as Sea Wolf dresses up almost basic like folk-pop arrangements.

      The album opens with the title track “Leaves in the River” which is peaceful melody in which Chuch basically tells an endearing story of meeting a girl on Halloween. The song is performed in a quiet, monochromatic manner that will surely delve deep into listener’s minds to allow an easily envisioned scenario being played out. “Middle Distance Runner” is a modest tune, with a violin fattening up an otherwise sparse acoustic folk number amid a bit of tambourine tapping and somewhat unfortunate-in-love lyrics.

      “You’re a Wolf” might be the delicious icing on the cake of the album, as some may say. Recycled from an earlier released EP, Get to the River before it Runs Dr, the track is extremely hypnotic, catchy, and without a doubt utterly expresses what the band is capable of – which is nothing short of platinum. “The Cold: the Dark & the Silence” is my personal favorite. The track is notable for its quiet affection and highly emotive content. The sentimental track utilizes small pulsating beats, making it sound almost poppy yet never lacking to its somber core.

      Church spices up Leaves in the River with enough insightful lyrics, melodic hooks and interesting layered instrumentation that he more than likely won’t leave you disappointed. Every song seems to be somewhat of a story weaving a tapestry of tender moments past. Much like the crisp autumn season, Leaves in the River, is something to be cherished, and praised. So, let Church grab on your musical heartstrings and make you feel warm and fuzzy all over.

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Dappled Cities + Granddance

OTO Rating: 8/10

      Dappled Cities (also known as Dappled Cities Fly) are a five-piece band from Sydney Australia that collectively claims to be “about 32% sane.” I can believe that statement because when listening to their latest release, Granddance, the songs ooze with a certain maniacal and frenzied passion that is anything but commonplace. Listing Akron/Family as one of their biggest musical influences they exude that same excitement that is feverishly beautiful and mad.

      Originally called “Periwinkle,” the band came together in 1997 when the majority of the band members had barely reached puberty yet, and were a mere 15 years old. The band played at various all ages shows and charity benefits until they reached legal age to play in the licensed venues. In 2004 they released their first full length album, A Smile, and now in the midst of 2007 they have released Granddance, which is bringing the Australian-bred band into the U.S. spotlight. In fact, as soon as Dangerbird Records heard them play at SXSW in 2006 they immediately signed them on.

      With the release of their second album, it’s been said to be a record that doesn’t skimp on grand gesture. It opens with probably its most dramatic track – “Holy Chord.” The track starts with a soft, catchy beat that eventually gives way to full-blown power chords. In this song, as in many others, vocalist Tim Derricourt varies his vocals between his normal pitch and falsetto. The band slowly builds behind Derricourt, finally leaping into a charge at the beginning of the third verse, where it begins building up again. The resulting sound is big and complex and powerfully delivers emotion straight to your speakers.

      “Fire, Fire, Fire” is an extremely evoking song that slowly unwinds some shy, understated vocal melodies only to see them slowly blossom into nearly epic arrangements. Fellow guitarist Dave Rennick doubles with Derricourt and occasionally breaks into falsetto, which makes the track even more unforgettable. Drummer Hugh Boyce also adds to the multi-dimensional aspect of melodies by carving out a distinct identity with ability to transform a song with his hypnotic beats.

      For being so young in physical age, Dappled Cities is a highly mature band with an evolved sense of superior song craft and arrangement. They may claim to be only 32% sane, but with this latest release they’re definitely not lacking creditability in knowing what they’re doing. With their sophomore release of Granddance I happily suspect I will be hearing a lot more of them in the future.

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OTO Rating: 7/10

     Tegan and Sara are somewhat of an enigma to me. I can’t decide if I really like them or if, more times than not, they just annoy me. Although these are my personal feelings, with their latest release The Con they, without a doubt, prove they can produce some catchy, frantically driven songs that are addictive to listen to and make you think. This album is overflowing with witty lyrics that are desperate, deep, and put an interesting spin on love. Having come to this realization, I guess I’m somewhere in the middle of the love-hate scale when it comes to the singing sisters – but nevertheless I find them intriguing at the least.

      This is Tegan and Sara’s fifth album, and what has been said to be a far cry from the bare folk-rock of the duo’s early work. The now 26-year-old Quin twins play guitar and provide vocals on every track, and are accompanied by a team of musicians: they are joined by Jason McGerr (of Death Cab for Cutie), Hunter Burgan (of AFI), and Matt Sharp (of The Rentals) to name a few. It should also be noted it was co-produced by the infamous Chris Walla who’s worked on numerous projects.

      One very captivating aspect to The Con is the overall theme to the album – each song speaks of some element of relationships, love, and marriage. Although the comprehensive idea to the album is amore, it’s far from hearts and flowers – more than likely alluding to the title The Con. Many of the songs vocalize feelings of hardship, starting over, and the need to feel wanted again echoed with a pessimistic point of view. For lyrics that are so serious, they manage to pull it off pretty damn well in a very short amount of time, considering the entire album is only a mere 36 minutes long.

      A major highlight to the album for me is “Back in your head” – a song that has amazing keyboard lines that are somehow just barely topped by the profound lyrics. I’m in love with this track because I can understand relating to it and empathize with everyone who does. This song serenades about the need to feel wanted while in a long term relationship and wanting that spark back. Getting too comfortable, not feeling that passionate love that somehow inevitably dies and the desperation of trying to get it back are addressed here. Lyrics “I’m not unfaithful, but I’ll stray” are repeated making the track unforgettable.

      The Con is not perfect – but I honestly don’t think perfection was the goal. At once urgent, remorseful, and delicate, this record is quite evocative. The overwhelming feeling seems to be one of longing, pining and yearning. A sense of anxiousness permeates these complex tracks, as if the women are looking for something they never really find – in that regard, it is somewhat bittersweet and worth checking out.

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      Bishop Allen is so cute it’s sick. Their music leaves you with that warm fuzzy feeling all over. Everything about them, from their on stage presence to their peppy lyrics just makes you want to reach out and hug someone. Having seen them open for one of my favorite bands, the Starlight Mints, I immediately fell in love with the New York based indie/pop band. Their songs are cheerful, insightful and the heartwarming lyrics they bellow out act as an intriguing storyteller for the listeners delight. Another reason I think they’re so adorable is they seem so down to earth. Earlier in the year I ordered a CD off their website and the lead man Christian Rudder wrote back personally to give me status updates. How often does that happen these days, I ask you?

      Bishop Allen released Charm School in 2003. This was their first full length album and it generated lots of press and new fans along with the promise of a very hopeful music-making future. Next came what is known as “the EP project.” Every month in 2006, Bishop Allen released a 4-song record with the corresponding month as the title. The band claims they all go together and are meant to be listened to as a series. Each and every charming mini album also features charming artwork for the listener’s enjoyment. Their latest release, The Broken String, ups the ante considerably, reworking ten songs from the EP cycle and two new cuts into shiny indie pop release notable for its versatility, clever-catching lyrics, and fun, offbeat instrumentation.

      The album opens with “Monitor” in which songwriter Justin Rice contrasts the Civil War ironclad and sailors’ courage with playing on-stage. Lyrics “when I break another string, and continue to sing, is that courage? I’m not sure”. It’s a bit of a reckless comparison, but the song’s slow-burn build into cascading piano runs, symphonic percussion, and joyous choruses makes it more serious than ostentatious. That song bleeds into the metronomic guitar riffs and driving pop beat of “Rain,” setting the table for the diversity that follows on much of the album. The following track on the album is “Click, Click, Click, Click” which was an original release on their most popular EP release “July”. The song is so catchy that I’m surprised I haven’t heard it on a Kodak commercial with some toothless 7 year old boy riding a merry-go-round or sucking on a cherry Popsicle with an unearthly uber-sized grin.

      In short, The Broken String is extremely enjoyable from start to finish. Many of the tracks seem to blend together in a menagerie of seamless bliss, making it difficult to differentiate what track you’re listening to exactly – and isn’t that something that should be commended? It’s the perfect album to play at a dinner party, an afternoon gathering of friends, or while lying in the arms of someone you love. Regardless if you’re a die hard Bishop Allen fan or have no clue of their tale whatsoever I believe just about anyone will find their latest release gratifying to the ears.

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