To date, Philadelphian alt-folk band Hoots and Hellmouth are probably best known for bringing together the twang of countrified alt-folk with jam rock stylings. One can certainly detect this juxtaposition on “Rest of the Industry,†the leadoff track on their second LP, Holy Open Secret. It’s palpable in the exuberant sing alongs “You and All of Us†and “Watch Your Mouth,†which also have a tinge of punkabilly brashness in their howled calls and responses. And “What Good are Plowshares (if we use them like Swords)†adds a bit of acid jazz organ to the fulsome mix.
While the stirring, exuberant side of their music-making is compelling, indeed uplifting, there are other facets to Hoots and Hellmouth. The group is capable of eloquent delicacy, even poignancy, on ballads such as “Family Band†and “Three Penny Charm,†and warm, banjo-laden fluidity on the ragtime-inflected “Dishpan Hands.†Foot-stomping though their uptempo numbers may be, one is equally engaged by these contrasting modes of music-making; it gives Holy Open Secret artistic depth, stylistic range, and abundant appeal.
Phoenix has been creating music since the mid-nineties and made their debut recording in 2000; but Wolfgang Amadeus Phoenix, their fourth LP, displays them at their best to date. The release’s powerful, intricate modern pop may not resemble either of the classical composers it references – Mozart in its title and Liszt on the song “Lisztomania;†the video for the latter was even filmed at Bayreuth! But the audacity and exuberance of these gestures to such luminous predecessors, in their own way, ring true.
Â
Â
Certainly, synth pop signatures remain a fixture of Phoenix’s sound, as is abundantly evident on songs like the aforementioned “Lisztomania†and “1901;†“Rome†is even more New Wave-inflected than is their usual wont. But on “Love Like a Sunset, Pt. 1,†the group strays into solidly art rock territory, creating a memorable, occasionally prog-influenced, instrumental. The piece is a synthetic tone poem that is considerably attractive. When its short coda, “Love Like a Sunset, Pt. 2,†reintroduces Thomas Mars’ vocals, the effect is dislocating; the music seems to have traveled so far away from the single-ready fare one’s already heard him sing.
Â
Â
Range, subtlety, memorable tunes, and name-dropping Franz and Wolfie in Richard’s playground; what’s not to like?
Björk’s DVD/CD/VINYL recording Voltaic, is being released in the U.S. by Nonesuch Records on June 30 (One Little Indian in the UK, and Universal worldwide.)
This June and July, the Paris concert from Voltaic: The Volta Tour will be screened nationwide in the U.S. Beginning on June 17 the more than 15 screenings will lead up to Voltaic’s release. Below are the confirmed screening dates and you can download the poster here.
Available in five different physical configurations, Voltaic is a lovingly packaged celebration of the past two years of activities surrounding Björk’s Volta (2007).
It’s hard to believe that Bob Mould is now fully twenty years into his solo career; it’s been thirty years since he founded Hüsker Dü! Some fans may prefer a specific style or period of Mould’s output over others; from his acoustic guitar-playing circa 1989’s Workbook to the electronica elements of 2002’s Modulate, his is indeed a varied corpus of work. But Life and Times doesn’t fit neatly at either stylistic extreme. Instead, it reminds us that Mould can still rock.
And boy, can he! Songs like “Wasted World,†with its visceral, shredding guitar solos, and the jaunty vocal snarls replete in the title track both serve as ample evidence. “City Lights (Days Go By)†features subtle layering of guitars and synths; but there’s still plenty of bite in the electric guitar solo breaks.
The whole album’s been in heavy rotation since it arrived, but one song in particular has been repeated the most. “I’m Sorry Baby, but You Can’t Stand in My Light Anymore†doesn’t pertain to my current, happy, domestic situation; but it’s a power pop ballad I’d have been glad to bring to bear during lousy adolescent dating situations. Simultaneously an expression of self-empowerment and a scathing indictment of an estranged lover, it’s easily one of the best hooks I’ve heard thus far in 2009. Anti is on a roll; in 2008, my favorite song was Billy Bragg’s “I Keep Faith!â€
Around the Well collects two CDs worth of Sam Beam’s Iron & Wine project, including rarities, B-sides, and previously unreleased songs. Beginning with solo efforts, bedroom recordings simultaneously relaxed and inspired (“Sacred Visionâ€), the compilation gradually unfolds Iron & Wine’s current state of affairs: a full band capable of intricate, lustrous arrangements (“Kingdom of the Animalsâ€).
Â
Predictably, a few of those fans who labored long and hard to acquire the band’s odds and ends prior to this handy compilation are grousing a bit. But even the most dedicated completist will find enough new fare here to intrigue. For example, “Arms of a Thief†takes Beam’s Texas folk trappings and transports them to Persian environs: percussion-heavy and replete with undulating grooves.
Also included are selections from film soundtracks for Garden State and In Good Company. The latter film features Beam’s songs arranged to best advantage: there are copious beautiful vocal harmonies on “Belated Promise Ring†and “The Trapeze Swinger†is Iron & Wine at its most epic and expansive. Their next LP is slated for release in 2010, but Around the Well is no mere placeholder: it’s a delightful collation of fine alt-folk.
A dozen years in, Mark Nelson’s Pan American project is still with the same label (Kranky) and still creating fascinating ambient soundscapes. But one shouldn’t mistake continuity for stagnation!
Indeed, there’s a combination of novelty and comfortable familiarity to be heard on the LP. Joined by bassists Jim Meyering and William Lowman and percussionist Steven Hess, Nelson pursues a more collaborative sound scheme than on some of his more soloistic recent recordings.  Hess’s co-authorship of two of the cuts, as well as his tasteful vibraphone playing and drumming, lends an organic quality to “For Aiming at the Stars†and “Dr. Robert Goddard in a Letter to H.G. Wells, 1932.â€
At the same time, there are echoes of Labradford, Nelson’s other outfit, to be found amidst the reverberant soundscapes here. “There Can Be No Thought of Finishing†and “Literally and Figuratively†feature deliciously sepulchral (and ever so well-recorded) bass drones; akin to bass-lines found on some of Labradford’s most winning work (E Luxo So, Fixed: :Content). Indeed, Meyering’s strummed chords provide a beautiful counterpart to Nelson’s treble-register harmonic pads.
“Is a Problem to Occupy Generations†demonstrates a capacity to be simultaneously ambient and experimental; its questing melodies are awash in reverb, arching towards an endpoint never quite to be reached. Conversely, the folk-like pentatonic phrases that inhabit “There is Always the Thrill of Just Beginning†seem to give the lie to much ambient-inspired “World†music, by eschewing its easily palatable background designs in favor of a more enigmatic – and far more interesting – hypnotic blurring.
Pan American remains a hardy, worthwhile endeavor; White Bird Release features some of Nelson’s most beautiful music to date.
PITCHFORK MUSIC FESTIVAL ANNOUNCES BEIRUT, DOOM, FRIGHTENED RABBIT, LINDSTRØM & MORE TO PERFORM AT 2009 FESTIVAL!
As the Chicago winter reluctantly becomes the spring, and the charcoal grills and lawn chairs emerge from hibernation, the 2009 Pitchfork Music Festival — to be held in Chicago’s Union Park Friday, July 17 through Sunday, July 19 — is pleased to be announcing even more undeniably unique and ground-breaking acts performing at this year’s event. Saturday will see performances by Beirut, DOOM, Lindstrøm, and Ponytail and on Sunday, the festival will be adding Frightened Rabbit, The Mae Shi, DJ/Rupture, and Dianogah to the ultimate festival lineup of the summer.
Those who remember the speed with which tickets sold out last year should not find it surprising that the number of 3-day passes is quickly diminishing and should be sold out within the week. Those who have not purchased tickets yet should visit the official festival website.
 Remember, ticket buyers can go online and “Write the Night” by voting for the set list of their dreams for the bands performing on Friday night. The ballot boxes are open until June 12. Those who have already purchased a ticket but have yet to vote should be sure to check their purchase confirmation email for a link to the polls.Â
Friday – “Write the Night: Set Lists by Request”
Built to Spill
The Jesus Lizard
Yo La Tengo
Tortoise
Saturday
The National
Beirut *
DOOM *
Yeasayer
The Pains of Being Pure at Heart
F**ked Up
Plants and Animals
Matt and Kim
Lindstrøm *
Wavves
Ponytail *
Charles Hamilton
The Duchess and the Duke
Disappears
Sunday
The Flaming Lips
Grizzly Bear
M83
The Walkmen
Pharoahe Monch
Blitzen Trapper
Frightened Rabbit *
The Mae Shi *
Black Lips
The Very Best
Mew
Vivian Girls
Japandroids
DJ/Rupture *
Women
Dianogah *
* Just added
About the Pitchfork Music Festival:
This year marks the fourth anniversary of the Pitchfork Music Festival — and the fifth time Pitchfork has presented a music festival in Union Park. The three-day event will once again showcase a wide range of global artists on three stages, with a focus on forward thinking programming at a reasonable price. Beginning with the music and continuing through all facets of its production, the Pitchfork Music Festival is dedicated to providing both attendees and musicians an overwhelmingly positive, comfortable, and fun experience. In years past the Pitchfork Music Festival has proven to be the best event to see indie stars in key, ascendant points in their careers, as well as a wide range of established and widely loved artists that appeal to a diverse audience.
An independently run, consistently sold-out festival, Pitchfork attracts more than 45,000 fans of all ages from 45 states and 11 countries. With over 50 individual vendors, as well as specialty fairs, the Pitchfork Music Festival offers attendees a wide range of activities on top of its stellar musical program. Additionally, the fest not only supports local businesses and the local economy, but also promotes the Chicago arts community as a whole.
Pitchfork Media is the premier destination for music criticism, news, features, and audio/video content. With more than 1.9 million unique readers per month and over 20 million page views, Pitchfork has earned one of the internet’s most loyal followings and a reputation as the music world’s primary tastemaker.
Tickets for the 2009 Pitchfork Music Festival are on sale now. More bands will be announced in the coming weeks and further information can be found here.
It’s hard to believe that Merge Records has been around for twenty years. In 1989, the imprint was started by Superchunk’s Mac McCaughan to release the band’s recordings and assorted side projects. Merge has since grown into one of the most successful indie concerns around.To celebrate twenty years in the record business, they’ve released Score, a compilation of songs by Merge artists covered by Non-Merge artists. A host of prominent participants include the Shins, Broken Social Scene, Death Cab for Cutie, and the New Pornographers. Proceeds benefit fourteen charities, chosen by the collection’s curators.
The comp is cause for philanthropists to rejoice; music fans too! St. Vincent joins forces with the National on an affecting rendition of Crooked Fingers’ “Sleep all Summer.†Apples in Stereo supply a peppy version of Neutral Milk Hotel’s “King of Carrot Flowers, Pt. 3.†Barbara Manning provides an ardent, rousing take of Portastatic’s “Through with People.†Magnetic Fields’ “Yeah! Oh Yeah!†receives a suitably spare bedroom pop reading, an eloquently lyrical duet from Tracey Thorn and Jens Lekman. Meanwhile, Death Cab for Cutie works a bit against type, trading their often ethereal arranging aesthetic for a bit more grit and darker hues on Superchunk’s “Kicked In.†Overall, an impeccably selected collection of cover songs, featuring a variety of (frequently interesting)approaches: what’s not to like? Save a Carousel
Some of my happiest moments as a child were on the old carousel at Nunley’s Arcade on Long Island: riding the horses around the loop; gazing with a mixture of excitement, awe, and a bit of fear at the carved lions and tigers.  A close second was the tire swing: Â
I hope some readers will consider voting to help restore the Paragon Carousel, favorite haunt of Merge artists Neutral Milk Hotel! Details from the press release are below. The Paragon Carousel is a beautiful machine that has been my dear neighbor for many moons.  Now 81 years old, it is in need of a little love and attention in order for it to survive.Â
It is my sincere wish for the Paragon Carousel to be a part of the magic of long seaside summer afternoons for many years to come.  But it might not get to. Unfortunately, we live in a world where the great whirling contraptions of mechanical music and light are not as profitable to operate as other things, and carousels are worth much more taken apart and sold in pieces to museums, where one must pay to look at them behind glass, rather than having them simply existing in the world that we now all share. Â
 I spoke with Jeff and Scott and Jeremy about this and they agreed that I should, on behalf of Neutral Milk Hotel, make an appeal to the good people who might have enjoyed the music made over the years, because we think you’d understand especially, and want to help. Â
We humbly ask you to vote!
Â
The Paragon Carousel is competing with 24 other historic Massachussettes buildings for a grant of $100,000. The historic site with the most votes wins, and anyone anywhere can vote. We would love it if by our collective effort we could ensure the continuation of this grand place.  It only takes a moment and you can do so here
Â
You are allowed to vote once a day until May 17th . Your vote means a great deal to all of us at Elephant Six. Places like this are so special. They deserve to exist in the same world that we do. So we can visit them with our bodies, not just our memories and dreams.Â
Â
We’d like to thank you for your help and for spreading the word. Â
 ~Julian Koster with Jeff Mangum on behalf of Neutral Milk Hotel
To celebrate their tenth anniversary, Japanese post-rock collective Mono recorded their first collaboration with symphony orchestra: Hymn to the Immortal Wind. Given the band’s penchant for evincing classical signatures, this addition of acoustic instruments seems a natural step in their musical development.
What’s more, the band does a fine job of incorporating the orchestra without de-fanging their music’s rock-imbued heft. Thus, “Ashes in the Snow,†the album’s opener, builds from a gentle introduction, which sets up a repeated harmonic progression on which the whole dozen-minute piece will be based, to a thrilling wall of soaring guitars and strings with propulsive bass drums underneath. While limiting such a large canvass to a four measure chaconne could easily get tiresome, the constantly shifting instrumentation and frequent dynamic gradations keep “Ashes†a fascinating, slowly evolving tableau.
“Burial at Sea†spotlights an affecting neo-baroque classical nylon-string guitar-bass duo which gives away to a sweeping full-band prog-rock anthem. “Follow the Map†combines piano, acoustic guitars, and the occasional bluesy slide against chamber strings in a fetching extended passage; this is followed by a climactic orchestral tutti. Both compositions go much further than many prog/orch collaborations to effectively use the orchestra’s strengths with a keen awareness of balance and timbre.
“Silent Fight, Sleeping Dawn†features a beautifully mournful tune in the lower strings, set against delicate minor-key piano arpeggiations; the piece is somewhat reminiscent of Michael Nyman or Gavin Bryars in its minimalist aesthetic. “Pure as Snow†is similarly conceived, juxtaposing lush high strings against percussion in a portentous funeral march. Once again, the band organizes things around a phrase-long harmonic ground; and while the presentation is haunting, one occasionally wishes for more rhythmic variety. This concern is somewhat ameliorated on “The Battle to Heaven,†which incorporates drum kit more prominently.
“Everlasting Light†closes the recording with a stirring celestial vision; sustained guitar melodies are haloed by violins; then buoyed to a thrilling finale by a wall of glorious E-major. Hymn to the Immortal Wind is resoundingly successful.
My IPod finishes syncing, and now has 6.66 GB on it.
The album just added: Art Brut vs. Satan.
I add an MP3: quickly!
The latest recording from Art Brut continues its winning mixture of post-punk energy, and witty humor; but this time out, the band brings its approach to bear on a wider range of subject matter, including some weighty issues. Produced by Frank Black (Pixies), vs. Satan includes preponderantly propulsive, three-minute missives. Catchy riffs are found throughout, but particularly sizzle on “Alcoholics Unanimous,†“The Replacements,†and “The Passenger.†Over these, lead singer Eddie Argos’s talky declamation encompasses a host of topics; but he’s most in his element singing about the colloquial, albeit from a quirky vantage point.
His passion for comic books – a topic about which he regularly blogs – is explored in “DC comics and Chocolate Milkshake;†the woeful state of the recording industry is brusquely lamented in “Slap Dash for No Cash.†Argos is also able to channel adolescent angst, Peter Pan fashion, and creditably sing about its awkwardness (“Am I Normalâ€) and rites of passage (“Summer Jobâ€).
The Mephistophelian motif of the LP’s title is overtly grappled with on “Demons Out,†but a related, constant theme is the wages of overindulgence.  Partying takes place in “Alcoholics Unanimous,†“What a Rush,†and “Twist and Shout;†its Bacchanalian excesses at times seem to be celebrated. But upon waking up the next morning with “Mysterious Bruises,†Argos seems to acknowledge that Never Never Land doesn’t go well with an open bar.
Still, vs. Satan is no tidy morality play; we are left wondering whether Art Brut or Old Scratch will have the last word. I’m rooting for the guys with the guitars, not whatever it was that tried to possess my IPod!
It’s hard to believe that 
Save a Carousel
Entries (RSS)