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WOMEN: She's Golden

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MEN: Gray Days

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• 05/12/08

  Cut Copy—In Ghost Colours And finally, the long-awaited Cut Copy album. The Australian trio again delivers the dancefloor-friendly indie rock that we've been waiting for all this time. The genre description on their Myspace page says it all: "Pop/Pop/Pop." The album is catchy as all get-out. These guys have albums that go number 1 in Australia, and after listening to this album we can't imagine why they haven't caught on the same way here. If you're curious what all the fuss is about, we heard they're touring the U.S. right now.
  
  M83—Saturdays=Youth When M83 first washed up on our shores a few years ago, their digital soundscapes were the perfect counterpoint to the beautiful washes of guitar noise we loved in bands like My Bloody Valentine. This French group is at it again, but this time the work is solely that of Anthony Gonzalez. There is still the meticulous layering of keyboard sounds that we originally loved, but with an added immediacy and a hint of 80's synth-pop. We love it when something as cold and mechanical as a synthesizer can make us feel such strong and visceral emotions.
  
  The Black Angels—Directions to See a Ghost Yet another great band pops up in Austin, Texas. In all fairness, this band has been around for a few years now but they've just popped up on our radar. Dabbling in the dark psychedelia of the Velvet Underground at its most menacing, the Black Angels create raw rock music that drones instead of strutting. Just listening to this album makes us want to have a change in lifestyle that includes dark sunglasses, leather jackets, and whiskey.
  
  

• 04/28/08

  Portishead—Third The much-anticipated new Portishead record is not at all what we thought it would be. Sure, it's really great but we expected that from a band whose albums were some of the most consistently enjoyable of the 90's. But we didn't expect the rock energy (well, actually krautrock energy) that they bring on this record. We appreciate it when a band that's been around for so long can actually sound hungry on their comeback record (and add to their legacy instead of diminishing it).
  
  Shocking Pinks—Shocking Pinks So what if this album came out last year? It's new to us. This release from DFA Records is actually a compilation of previously released material from Kiwi wunderkind Nick Harte. The music is pop in the My Bloody Valentine/Jesus & Mary Chain mold but with a homemade feel and often dancey New Order-esque drums. That's a lot of band references to put in one sentence and we assure you that the Shocking Pinks don't ape the sound of any of those bands. They are just bands that come to mind when we listen to this record and that's just a way of saying that it's really good.
  
  No Age—Nouns This L.A. band's full-length debut from last year rocked our world with its transcendent noise and pop punk outbursts. Before their first tape has even left our deck (well, we actually don't have this on cassette, but whatever), they release another album and somehow it's even better than the first. Here they have fully integrated their noise and pop elements to make a cohesive whole that really sounds like a band hitting its stride and reaching its potential.
  
  

• 04/14/08

  Hot Chip—Made in the Dark Few things can match the instant pleasures of electropop—there's a reason that best of the 80's compilation you bought at a gas station gets so much play. As far as modern electropop goes, there's Hot Chip and then there's everyone else. On their new album they've decided to not record exclusively in the bedroom as on past albums, but their
  sound doesn't lose any of their past intimacy from the location change. They are blending live elements with the normal electronic sounds but the whole package is danceable, singable, and destined to be played a thousand times.
  
  Fuck Buttons—Street Horrrsing There's been many theories on what a Fuck Button is. We originally thought it was something that you would push but our friend Billy pointed out that it could be an aggressive fashion manifesto ("Dude, fuck buttons! It's all about clasps."). The easy answer is that it's a
  British two piece band that work a strong drums and fuzz style that can be hardcore aggressive or quasi-tribal. At it's best moments it sounds like a 21st century remake of Brian Eno and David Byrne's "My Life in the Bush of Ghosts".
  
  Stephen Malkmus—Real Emotional Trash When you're growing up, you never understand why aging music lovers continue buying the increasingly mediocre albums of the heroes of their youth (Hey, we all love David Crosby but when you replace Stills and Nash with two guys who look like they work in IT it's not quite the same band). But he we are, all grown up, and we will never cease to buy Stephen Malkmus albums because Pavement blew our teenaged minds. Sure, the songs are not quite as strong and the guitar solos go on a little too long but it our strong contention that he's never released a bad album. This one actually happens to be pretty good.
  
  

• 04/01/08

  She & Him—Volume One To immediately dispel any mystery, "She" is the actress Zooey Deschanel and "Him" is singer-songwriter M. Ward. The two have teamed up for this lovely album that we've enjoyed far more than we ever expected to. M. Ward has always made albums that sounded like they were better suited to a jukebox or transistor radio in an alternate universe. But when Deschanel sings his songs, the dynamic changes. Her voice is sweet, and the sound comes closer to the classic pop and country songs of the '60s. No question, it's fairly addictive listening.
  
  Crystal Castles—Crystal Castles Prior to releasing this eponymous debut album, the Toronto duo Crystal Castles were mainly known for their remixing work for bands like Bloc Party, the Klaxons, and Liars. Their previous productions only hinted at what their own music sounds like. Well, of course you might have predicted the 8-bit Nintendo dance tracks, but some of the strongest
  songs are atmospheric and sparse tracks with breathy vocals. The overall effect is like listening to entirely different bands, albeit very good ones.
  
  The Breeders—Mountain BattlesWhen you think about indie pop, it's hard not to mention the Pixies. It's because of the monumental influence of that band that people often overlook the strengths of Kim Deal's other band The Breeders (I guess with the ubiquity of "Cannonball" in the '90s, it wasn't that hard to overlook them, but you get the point). Quietly, they have released three great albums previously and now another strong outing. We love how it still sounds like a Breeders record while also feeling cool and current. Give it a few listens and you'll see how this band shows all the youngsters how it's done.
  
  

• 03/17/08

  Tallest Man on Earth—EP We are constantly impressed by those enterprising Swedes. If you didn't know better, you'd think the five songs on this impressive EP were the product of some forgotten early '60s folkie or eve a Depression-era hillbilly. Instead it's Kristian Matsson, who manages to do back-country Americana better than any American we've heard in a while. Accompanying himself on strummed or fingerpicked guitar, Tallest Man on Earth seems to be a student of the music of Appalachia and Piedmont blues. But rather than sounding like a musicologist, his work sounds sincere when it could so easily come off like an affectation.
  
  Various Artists—Living Bridge While this compilation reads like a Who's Who of Brooklyn's experimental rock scene, it was conceived as mixtape by Nicolas Vernhes, owner of Rare Book Room studio, to announce his new record label. All of the selections on this double album were recorded at Rare Book Room, and all but one were recorded with this compilation in mind (of course this exception happens to be an outtake from the Silver Jews' 1998 album American Water, a masterpiece in our opinion). This record succeeds where so many others have been forgettable because it makes all these wildly different bands sound so great together.
  
  Kelley Polar—I Need You to Hold On While the Sky Is Falling It shouldn't come as a surprise that Kelley Polar is both a Juilliard-trained violist and a disco house producer. There have been many cases of classical musicians taking to the dancefloor (Arthur Russell comes to mind) and disco has not been immune to the appeal of over-the-top string arrangements. Polar's arrangements are different though—there is a subtle craftsmanship at work that has informed his collaborations with Metro Area and now his own work. This latest album incorporates his own understated vocals and wonderful arrangements to make dance-friendly music for the body and mind.
  

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