Posted December 9, 2009 by Matt at 12:44 pm ·
Filed under Lost Classics
The other day I opened my very overpriced Issue of Spin Magazine, the issue with naked pictures of Wayne Coyne, really. Anyway, in the middle of the page titled “hot right now” or something, there was an old familiar face.
That face was Jonathan Pierce.
You see, on one magical evening in the fall of 2003, Eastern University, the school I was attending at the time, hosted a concert in the first floor lounge of my dorm. The headlining band was Cool Hand Luke, but the openers, playing under the light of my desk lamp, were a young Sony signed band yet unknown to me:
That band was Elkland, and they became the rage of indie set at Eastern that year after their brand of new wave pop got the whole party dancing that evening. Two years later, in Chicago, I happened across their full length album in a Virgin megastore. The same day I bought the Wilco classic Yankee Hotel Foxtrot, the thing I couldn’t keep out of my stereo was this sentimental, emotionally open, hook-laced, synth driven pop record. Right around this same time, The Killers and The Bravery were all over rock radio, but somehow this total gem missed the pop charts. Hindered by a program which wouldn’t allow it to be played in standard audio players, and prevented file saving or sharing, this album was heard by few. But speaking for myself and a few others, we couldn’t shut it off.
Shortly there after, the newsfeed on the band’s Myspace informed me that Elkland would be no more. Crushing my hopes for a sequel to this closet classic. But two weeks ago, all that changed, from the pages of my overpriced music rag, I discovered that Jonathan has formed a new (and extremely hyped) band called the Drums. Very exciting!
But still, nothing will match the magic of the 2003 dance party, and this gem of a record that just won’t quit.
Posted October 29, 2009 by Matt at 5:09 pm ·
Filed under Lost Classics
Phosphorescent is an overlooked artist to begin with. Being on the very new and exciting Dead Oceans label did help that fact a little bit, and he got some decent press for 2007’s Pride. But this album, 2005’s Aw Come Aw Wry is certainly a disregarded nugget which brings this music lover much joy.
Cut from the same cloth as country tinged folk artists as Bonnie “Prince” Billy or Damien Jurado, Matthew Houck (the man behind the magic) also incorporates recurring themes and some orchestration (horns, piano, accordion, and slide guitar) into his music. The result is a soothing yet provocative blend of beauty and balladry.
Organic, authentic, haunting, heartfelt and fun, this album is really something to behold. Whilst maybe not as immaculately produced as Pride (which I also suggest checking out), Aw Come Aw Wry really has something going on that just keeps on bringing me back. It may or may not have something to do with the repeated utterance of the albums title on three of the album’s tracks.
If you already enjoy the stylings of the one they call Phosphorescent, and are looking for something else juicy to chew on, why not try Grinding Tapes’ very own The Points North, who’s new album I Saw Across the Sound came out earlier this month. Similarly tuneful, haunting and beautiful, these lovely folks from Boston’s Jamaica Plain are certainly going to be considered classic, but will not be lost if you simply take a minute to listen.
Posted May 15, 2009 by Matt at 1:42 pm ·
Filed under Lost Classics
So, when looking for a lost classic this week, I found myself coming back to Blitzen Trapper, which is an obsession of mine lately. Now, while I must say this album is indeed a classic, it is far from lost at this point. I decided to call this one UNDERappreciated as a result. Heck, if this goes well, I may change the title of the column all together, ’cause why not? And, maybe it fits a little bit better (see my complaints on last week’s “Hundred Miles Off” post).
Anyway, with no further ado…
Blitzen Trapper should be huge. There is no reason why they shouldn’t in a world of Wilco fans, Ryan Adams fans, Fleet Foxes success stories (the Foxes first major tour was OPENING for B.T.), and hordes of quirky folk/country rock lovers. Take one listen to the title track of their 3rd album, first for Sub Pop, and you’ll know, these folks got it.
Wanna see Wilco for twenty bucks rather than fifty? Buy a Blitzen Trapper ticket. Now, while that may not be entirely fair, there is something to be said for the sound and functional similarities of these two bands. Both bands have six members, a short, dark haired lead songwriter, a wild haired backing vocalist (although Wilco lost theirs), a mostly nineties-based style of alternative rock, and–most importantly–a sensibility for combining some of the most cutting-edge studio tricks with a keen sense of country and folk.
Their fourth album (note that Wilco’s fourth album was the critically-lauded Yankee Hotel Foxtrot), Blitzen Trapper masterfully alternate between galloping alternative country rockers, folk ballads, and Beatles-channeling pop tunes. Maybe the reason the album hasn’t set fire to the music industry is the contrast between these two: the disruption in what could be a consistent flow of one or the other. Maybe. But more likely, it’s a vast oversight of the strength of these songs, the virtues of creating an album with diversity, and the sheer potential manifested here by a band that is clearly on the rise.
In case you haven’t been able to tell yet, I love this album. And although it has garnered some very favorable reviews, I must say that it has been ultimately UNDERappreciated.
It’s virtually impossible for me to pick a favorite track, but here is one. It’s the excellent “Not Your Lover”, and it sounds like a leftover from After the Goldrush. In other words, it’s very Neil Young in a very amazing way and is counted among the slower folk pop tunes that inhabit this album. Enjoy.
Posted April 22, 2009 by Matt at 7:30 pm ·
Filed under Lost Classics
I swear that eventually I will use this column to post on something more than 7 years old. However, today is not that day.
If you read about music online (which you’re doing right now), you definitely should have heard of The Walkmen. If you haven’t, you’re gunna get the chance to listen to them soon, so hold on.
Anyway, usually when you hear of The Walkmen online, it’s in reference to their two superb albums, Bows and Arrows and last years You & Me. These are two great records–don’t get me wrong–but today I’m here to tell you about their lost classic, A Hundred Miles Off. You may be asking yourself, “Why is this 3 year old well traveled album a lost classic?” Case A: The mighty Pitchforkmedia.com, champions of The Walkmen in general, just about messed themselves over the release of the for admittedly excellent Bows and Arrows LP, granting it the rare honor of a 9.2. Fastforward four years, when they awarded 2008’s markedly more straightforward You & Me a very gracious 8.5. Meanwhile, the workhorse album, the traveling band’s testament, and the exercise in stability, A Hundred Miles Off garnered a measly 6.5 from the indie media powerhouse.
6.5!
Now I’ve heard every Walkmen album, I consider myself a big fan. They are indubitably, one of the most interesting rock and roll acts going: both a great live act and a formidable recording powerhouse. A rare total package. And I have heard, and been moved and engrossed in the Bows and Arrows record. It’s fantastic. “The Rat” will be remembered as one of the best recordings of the ’00s. But, what I cannot see is the justice in saying, “Sadly, there isn’t much on A Hundred Miles Off that leaves a lasting impression.” How about how lead singer Hamilton Leithauser cozies up next to us and tells us a little bit more about himself as a songwriter on “Brandy Alexander”, or the horn solo on album opener “Lousiana”, or the drumming on Bows and Arrows’ cousin “Always After You (’Til You Started After Me)”, and what about the pure solidarity of composition on the Marazin cover “Another One Goes By”. Sure, this album isn’t the experimental moodiness and arena-chasing sound that made Bows and Arrows make it to the screen of television’s the O.C.. But how can anyone snub an absolutely and completely hard fought, rock solid follow up to one of the best albums of the ’00s? I think any Walkmen fan can attest to the fact that this album does not fall three bloated Pitchfork points from Bows and Arrows. In fact, upon repeat listens–of which I’ve had many–this album actually does a significantly more to make friends with your memories and taste buds, and features none of the overblown whininess that can be found on the band’s sophomore outing.
The point is: The Walkmen are fantastic. Everything in their rapidly expanding catalog is certainly worth a listen. And this, their third album, is certainly no drop off point. In this humble reviewer’s opinion, it’s one of their best.
Richard Swift is one of the most underrated talents going.
Having seen the guy three times, I can say that he puts on a stupendous show. But his recorded work is nothing to snuff at either. In fact, I would say it’s cause for commotion.
This collection of EPs, titled The Richard Swift Collection Vol. 1, may be understated, but is an extremely good place to start appreciating this artist’s music. Much of what Richard goes on to explore in his very diverse later catalog begins here. Richard plays most of the instruments on this release– and their are quite a few. He also recorded and released the EPs on his own before signing with Secretly Canadian in 2005 and reissuing them as the Richard Swift Collection in the late fall.
The Novelist is a study in early lo-fi recording styles and raspy-jazzy jams that fall not far from Tom Waits, or crate-digger sound studies from yesteryear. “Lovely Night”, despite a very clean chorus, sounds very much like a 1930s New Orleans jam session, and could have easily found its way on to some of Mr. Waits earlier 70s albums. “Sad Song St.” finds a ukulele and organ telling a kitschy story of a rather humorous lifestyle of depression and love lost. Fans of this style will not be disappointed as the rest of this disc plays out like a truly satisfying night sitting in front of the radio when your grandparents were kids.
What’s truly impressive, though, is that the joy does not end there. Throw in Walking Without Effort and you will find a more modern Swift embracing classic instrumentation (acoustic guitar, horns and piano) and textures in a way that is very clean and new sounding. Not to mention proving himself as truly gifted and moving songwriter. “Half Lit”, “As I Go” and “Above and Below” are not only true standouts here on this disc, but also stand out as a few of my very favorite recorded songs in recent memory. Fans of Andrew Bird, Denison Witmer, Sufjan Stevens and Elijah Wyman should definitely take notice.
Richard has an album coming out this week entitled The Atlantic Ocean. And has toured previously with The Walkmen, Wilco, The Cold War Kids and My Morning Jacket. If you like this album check out Dressed Up For the Letdown, his surf rock experimental record Richard Swift as Onasis or his electronic album as Instruments of Science and Technology.
Posted March 31, 2009 by Matt at 12:18 pm ·
Filed under Lost Classics
So in lieu of having new Grinding Tapes albums to listen to and review (lookin’ forward to the summer), I thought I would take the chance to throw a couple of “Lost Classics” at you all. This will be a semi-regular posting about albums which I think are under-sung. Sure, they may have been critically lauded or popular in their time, but it seems that they have lost the limelight for one reason or another and I think they deserve another look.
Anyway, with no further ado, I give you S.T.R.E.E.T. D.A.D.
This 2002 album from !!! side project, Out Hud is definitely an obscure classic. Being the dork I am and having a lot of time on my hands a few weeks ago, I decided to see what the first album ever granted Pitchfork Media’s Best New Music rating. Yes, I know, it’s sad. But anyway, I’m glad I did it, ‘cuz this album was it, and not two days later I found the same album on the shelf at Mystery Train Records in Gloucester, MA for a paltry $4.50.
The album explores a mild yet driving electro pulse with experimentation in jangly and sometimes almost disco (see !!!) guitar and glitchy noise, feedback, and industrial-esque textures. There are some straight ahead Kraftwerk-esque keyboards as well, and lots of interesting hand and programmed drumming as well. But, when it’s all combined, this album is what I would consider excellent any day background music. For a walk on a beach, a long car ride, or I could make the best argument for a day of work around the house.
While it doesn’t include anything you have never heard done before, this album does set a unique mood and puts together some very pleasing sounds, which are very rarely combined. And best of all, it does this very well.
Perfect for: any fan of mellow electronica, someone looking for a new sound to fill their background, or anyone who likes listening to !!! but would really like them to take a minute and chill out.
(If pressed I would definately recomend track two, “Dad, There’s a Little Phrase Called Too Much Information”, over track one, but since it won’t let me post it here (size issues)…. One is a good example of what’s going on as well.)
