Foxes in Fiction - 'Shadow's Song'

At the end of 2009, Atlas Sound released the incredible Logos. I was in the thick of my Deerhunter fandom at the time, and so immediately connected with this second solo album from Bradford Cox.

I wanted more though. I listened to anything and everything that in some way resembled the ideas and sounds presented by Cox. It was on one of these trips through LastFM's ‘similar artists’ suggestions (remember, this was five years ago) that I stumbled across the work of Foxes in Fiction. The solo project of Warren Hildebrand, he had just released his debut album Swung From The Branches which it seemed was compared to Atlas Sound in almost every review I came across. I immediately had to listen to it and true, there were similarities on the surface but anyone giving Swung From the Branches more than a cursory listen could tell you that they were very different projects. Featuring the standout track '15 Ativan (Song for Erika)', I had this album on repeat for a long time and even found vast appeal in the Foxes in Fiction x Weed cover of Katy Perry’s ‘Teenage Dream’ that surfaced soon after.

Though he’s released two 7”s and two EP’s since then, Ontario Gothic is serving as my reintroduction to Warren’s work. An excellent follow-up, it completely sheds itself of any lingering comparisons to Cox’s project. On this album, Warren has forged his own clear identity, creating an inspired mixture of atmospheric pop. Where Swung From The Branches featured a deliberate split between the ambient, shifting A-side and the concise, structured pop of the B-side, the songs on Ontario Gothic have been left free to seamlessly flow between these two styles. ‘Shadow’s Song’ is a gentle, yet technically proficient song; overflowing with ideas, it serves as the best possible introduction to Foxes in Fiction.

A superb album, Ontario Gothic is out now through Warren’s excellent Orchid Tapes label or digitally on Bandcamp.

Moved house and it took me ages to get the internet set up so I've got the biggest backlog of things to write about.

Ah thanks for hitting me up.

I borrowed my brothers microKorg for a bit but found it to be just too dance oriented (plus I found the small keys a bit weird). A bit hard to be specific about what tones I’m after (as I don’t even really know!) but I'll be throwing reverb and delay behind it and looping that while I play guitar over the top (+ drum machine and pre-recorded bass). A lot of what I play has a The Go-betweens / The Bats sort of vibe and this would be leading me more towards foxes in fiction territory.

My biggest problem is really just that I have no idea where I should start looking; though I’ve been told it would be worth considering the Korg R3 and Yamaha DX7.

Not really concerned about weighted or non-weighted keys & budget would probably be <$600 but more ideally somewhere around the $400 mark.

Not sure how helpful that is to you but definitely looking forward to whatever recommendations you can come up with.

Kitty - 'Marijuana'

No one deserves the level of online hate that Kitty gets. I don't know what people don't like about her (that she's female?) but whenever I see people commenting online purely to get a negative reaction I can only imagine what their life is like in the real world. The answer? Definitely not as successful as Kitty's has been over the last three years.

Drawn into the spotlight with 'OK Cupid' and then brilliantly announcing herself as the "Rap Game Taylor Swift" on follow up single 'Orion's Belt (ft. Riff Raff)', Kitty was quick to establish a strong presence in the cloud rap scene. Making the Daytona Beach to Brooklyn transition to focus on her career, 'Marijuana' was released as a non-EP track a couple of weeks after the unveiling of her third EP Impatiens. What might have been an afterthought for Kitty is actually her best song to date.

With Chrome Sparks providing his beat of the same name, Kitty clouds your head as her vocals wrap around the layers of dense synth. She hasn't created a backstory to legitimise herself and doesn't feel the need to rap about how hard her life is; that isn't the persona that she's pushing. Instead she takes a lighter approach, rapping about waiting to get a record deal while writing home to promise her mum that she's doing great. For whatever reason, I find the line "I shake 'em with the hand that I'm coughing in" to be both hilarious and a good summary of who she is as an artist; clever with her lyrics, happy to make fun of herself and eager to work in as many pop-culture references as she can. With disdain levelled at Childish Gambino for taking a similar approach, maybe people just don't like to see others succeed by doing things differently?

Alvvays - 'Party Police'

Alvvays have hands down released the greatest debut album of this year. 

Every single song on this self-titled album could stand on its own and, while all sharing that common core, experiment with a number of different ideas, with each displaying exceptional care in regards to their specific arrangements. So much is made of vocalist Molly Rankin's ties to her famous celtic musical family which are most strongly felt on the huge single 'Archie, Marry Me'. 'Party Police' however shows exactly where her talent lies while allowing her band the chance to prove themselves as equally exceptional musicians. 

A darker song, 'Party Police' holds an underlying tension that builds throughout. After the sudden tonal shift in guitars that takes place about two thirds of the way through, the brilliance of this track is shown in a single note. At this point the instruments have mostly cut out, though the song continues to build. At the 3:21 mark Molly turns this very good song into a great song by briefly jumping into a higher octave, the chorus then kicks back into full force as the tension is released and pulled together with a synth outro for good measure.

The Pains of Being Pure at Heart - Days of Abandon Review

Working in a creative industry that's constantly evolving means that bands, entrenched in a particular sound, may only have a limited lifespan in which to achieve success. In the three years since the release of The Pains of Being Pure at Heart's last album, the musical landscape has undergone some significant shifts. The buzz that once surrounded C86 sounding indie-pop bands (2007-2010?) has now directed itself towards those acts that incorporate R&B elements. The textures that The Pains of Being Pure at Heart played with on their previous albums have now been so thoroughly explored that new life needs to be breathed into the genre.

With some of the cleanest production I've heard, Days of Abandon glistens when taken apart piece by piece. Vocals harmonise perfectly, guitars shine, keyboards are expansive and the drums punch sharply throughout the mix (word to whoever positioned that snare mic!). Interestingly, Jen Goma from A Sunny Day in Glasgow shares vocal duties on a number of tracks, which works remarkably well becoming a central aspect of the album. Despite all of the effort that has gone into creating Days of Abandon however, I can't help but feel that nothing on the album reaches the same level that they once achieved on personal favourite 'Say No to Love'.

I'm often wary when an artist goes solo as they will often be unaware of how much they rely on their bandmates opinions and ideas when fleshing out songs. With The Pains of Being Pure at Heart now essentially being a solo project for Kip Berman it seems like he may be another to have fallen into this trap. Having given the album a number of listens, I still find it hard to differentiate a lot of the songs from one another. Recurring themes and sounds are of course expected, but in this case the variety just isn't there (something the clean production doesn't help).

Pure X - Angel Review

Pure X's debut album Pleasure was my favourite album of 2011. Though it's a loud and noisy album featuring an overwhelming abundance of reverb, it is concurrently underpinned the whole way through by a pop sensibility. Pleasure wasn't just a record that you could listen to once and know all of its secrets, it required the listener to invest their own time in it in order to fully appreciate all that it had to offer.

Last year's underwhelming Crawling Up the Stairs alluded to a more accessible Pure X ('Things in My Head') though the record often felt uncomfortable; hung up on its backstory and with the band not entirely confident of the musical direction that they were heading.

With the release of their major label debut, Angel, in just three weeks, Pure X have fundamentally redeemed themselves, presenting what is so far one of the strongest albums of the year. No longer only hinted at, Angel is a pop record through and through with the theme of love embedded from start to finish. What Pure X have managed to produce on this record is a staggering accomplishment. The opening bars of 'Starlight' set the tone for the rest of the album as their unique blend of shimmering rock begins to open up around you. The songs are always slow and the bass is constantly wandering as, vocalist and guitarist, Nate Grace utilises his falsetto to gently express himself. The addition of a second guitarist has only expanded their sound which seems to draw from the skewed, left of centre, pop that Unknown Mortal Orchestra produced on II .

While there are many high points on the album (would I be allowed to say that every song is a high point?), 'Heaven' is the standout track. Combining their trademark delicate groove with soft, feel good lyrics. Grace earnestly sings "Heaven is a feeling, one that I can believe in" and his sincerity makes you believe it too.

St. Vincent - 'Digital Witness'

"If I can't show it, if you can't see me, what's the point of doing anything?" asks Annie Clark on her latest single under the St. Vincent moniker. Having had numerous discussions with my own friends regarding the topic of self-advertisement, including how people will avoid doing things that can't be turned into a status, tweet or gram, it is nice to see Clark revisit this idea after previously writing about it on her collaboration with David Byrne.

Horn blasts and reserved percussion lay the track's foundation before the above chorus sweeps in revealing lush synthesisers and a guitar line that echos Clark's powerful voice. While St. Vincent pushes new boundaries for Clark, it shows that she is very much aware of where her own strengths lie. Her music evolves from album to album and yet she never falls victim to over reaching like so many other artists do. Though there is far less of her skilled guitar work on display in 'Digital Witness', St. Vincent still retains the sound that is uniquely her own.

Central America Playlist

Having been in Central America for the last two months it's great to come home and have such a long list of albums to work my way through. Before I get into all of the new stuff (and there is a lot), I thought I'd quickly post my 15 most listened to songs. They got me through some long bus rides; Listen to 'Part Past Part Fiction' by The Chills up above.

The Chills - Part Past part Fiction

Pure X - Things in My Head

Crocodiles - Stoned to Death

SMILE - Born Again

Moon King - Only Child

Tigers Can Bite You - Second Nature

Neil Young & Crazy Horse - White Line

Young Prisms - Sugar

Kate Bush - Running Up That Hill (A Deal with God)

Cool Drinks - I Don't Wanna Lose You

Mood Rings - Exorcised Painting

Stephen Malkmus & The Jicks - Lariat

Twerps - Anything New

Run DMT - Spruce Bringsteen

The Ocean Party - "Split"

It's not often that I find myself actively taking notice of a song's lyrics. I rarely pay any real attention to what is being sung, instead having them typically serve simply as something catchy for me to sing along to as I go about my day. I could easily rattle of the lyrics to hundreds of songs though I'd be hard pressed to actually tell you what any are about. "Split" however, the title track off of Melbourne powerhouse The Ocean Party's most recent record, is something different. 

With so many great songwriters in the band (its members additionally head up Velcro, Snowy Nasdaq, Pencil and Ciggie Witch) it's interesting that this track is the very first song written for The Ocean Party by drummer Zac Denton. Weaving his vocals between the laid back guitar lines and his own relaxed drumming, Denton manages to sum up the universal feeling experienced by every young person as they undertake the transition into adulthood. Earnestly singing, "I'm torn between what I want and, what I have to do…I'm split", Denton never comes across as anything less than sincere.

It's easy to see why they are often compared to bands such as Real Estate though there is more to them than just their laid back, relaxed vibe. With a turn of phrase akin to an early Stephen Malkmus and an attuned knowledge of song structure, The Ocean Party are definitely a band that everyone should be watching.

Total Slacker - 'Sometimes You Gotta Die'

Potty Mouth - 'Damages'

My first introduction to Western Massachusetts punk band Potty Mouth, was through a review by Michael of Awkward Sound (now Recommended Listen). In it, he describes their intimidating presence at one of their shows which resulted in him leaving early before anyone took to the stage. 

While many reviews have been quick to file Potty Mouth under the Riot Grrrl banner, comparing them to bands such as Bikini Kill and L7, a lack of political motivation on their behalf means that this is mostly due to their gender and not their music. Explosive guitars and powerful melodies result in Hell Bent being one of the most consistent and well formed debut albums released this year. 

'Damage', the album's first single, is a raw and energetic track that displays Potty Mouth at their 90's best. Featuring fuzzed guitars, gritty vocals and propelling drumming, it's the type of track that's upbeat enough to appeal to the casual listener while at the same time maintaining its aggression in the songs undercurrents with vocalist Abby Weems asking "How real were you? Cos I'm finding out the truth".

Yuck - 'Middle Sea'

Having to replace your band's frontman is a notoriously difficult task and so when Daniel Blumberg's departure from Yuck was announced, I assumed the end of the band was approaching. It's an understatement, then, to say that I was surprised to hear the announcement of Glow & Behold, Yuck's follow up to their hugely successful self-titled album.

'Middle Sea', my first taste of the upcoming record, floored me. Despite the turmoil that has been going on behind the scenes, the UK indie rockers have managed to write what is probably one of their best songs yet. Featuring the same thick distorted guitars and catchy melodies that they drew upon on their debut album, 'Middle Sea' shows Yuck soldiering on as if nothing has changed. With guitarist Max Bloom now covering vocal duties, it seems like the band can only go from strength to strength.

Not just a turning point for the band, 'Middle Sea' represents a significant moment for Bloom personally. Having always been in a supporting role to Blumberg's lead (he played guitar in Blumberg's first notable band Cajun Dance Party as well), Bloom appears to have relished the opportunity provided to him, using it to prove his capability to carrying Yuck forward.

Mood Rings - 'Pathos y Lagrimas'

Currently obsessing over both this song and album so hard. Hailing from Atlanta, Georgia (like so many other great bands) Mood Rings create this strange combination of murky psychedelic dream-pop where catchy guitar lines speak more for them than any chorus could.

Initially displaying some serious Interpol vibes with its complex bass line and shifting drumbeat, 'Pathos y Lagrimas' soon settles into its own as it takes on a more Ariel Pink / Hooray for Earth feel, featuring hushed vocals and intermittent guitar play. While lyrics such as "I miss you the best" along with the refrain "You never, ever, ever cared" appear to describe the ending of a relationship, the instrumentation hides any feelings of sadness, instead opening the song up with a powerful sprawling guitar line that you wish would just repeat forever.

Washed Out - 'Don't Give Up'

Washed Out's debut album, Within and Without, saw chillwave mainstay, Ernest Greene, fully realise the sound that he had pioneered on his critically acclaimed EP Life of Leisure. Though some claimed it was repetitive and pallid, Within and Without had enough substance to successfully silence those that claimed the genre was just a passing fad.

Since chillwave's initial peak in 2010, Greene's most notable contemporaries have diverged into other styles, with Neon Indian now creating futuristic synth-pop and Toro y Moi lending his hand at dance-oriented R&B. Interestingly, 'Don't Give Up', the second single off of Greene's upcoming sophomore record Paracosm, sees Greene maintaining his focus as he continues to mine at the heart of chillwave with exceptional results.

Initially, 'Don't Give Up' could be mistaken for a prime cut from Within and Without, though this would not be giving Greene the credit he is due. As the song develops, it soon becomes clear that 'Don't Give Up' expands well beyond anything previously released under the Washed Out moniker.

Exploring both textures and melody, this new single from Washed Out reveals that Greene has spent his downtime focused on enhancing his music in every way possible. While the track remains awash in the reverb that typifies the genre, the song is noticeably crisp thanks to the detailed mixing and mastering that has taken place.

Minks - 'Painted Indian'

I've been enjoying 'Painted Indian' for the last couple of weeks but have been so caught up with life that I haven't had a chance to write about it. Brooklyn goth-pop band Minks released their debut album By the Hedge in 2011 to much acclaim. Though I was already aware of the band through their earlier 7"'s, one of which featured the incredible summer-bummer 'Funeral Song', I never actually made it around to listening to their debut effort.

Two years down the track and Minks are back on my radar in a more straight forward capacity. The opening chords of 'Painted Indian' reference their previous work, before the song changes direction, jumping into an incredibly catchy chorus that (and I apologise for this next bit, though teenage me would have loved it) weirdly gives off a Tokyo Police Club / Born Ruffians mid-2000s vibe.

No longer indulging in the goth-pop that initially brought them popularity, though still fitting comfortably within the Captured Tracks roster, 'Painted Indian' is a tightly focused pop song that now only hints at, rather than draws directly from, luminaries like The Cure. 

Pictureplane - 'Pure War'

Obvious Disclaimer: I don't listen to DJ's / mashup / dance music. A lot of your typical 'electronic' music just does not appeal to me. I have no interest in that scene (i.e. I would choose a dive bar over a club any day) or the monotonous and overly repetitive 4/4 bass beats that accompany it.

One electronic musician that I do listen to though is Pictureplane. Since releasing his fantastic future-pop LP Thee Physical in 2011, bar a remix LP that was released the same year, all has been quite from Travis Egedy, the man behind the Pictureplane moniker.

'Pure War' marks Egedy's return and while it is not as immediate as anything off of Thee Physical any new output from him is warmly welcomed. Released as part of the Injustice: Gods Among Us video game soundtrack (the track makes much more sense in this context), 'Pure War' introduces itself with an intimidating heartbeat-style sound and numerous attacking synths that are eventually joined by a thick distorted bass line. It's great to once again hear Egedy's voice, and I for one am hoping that this is a sign that we will have some more new Pictureplane material coming in the near future

The Injustice: Gods Among Us soundtrack is out now.