There are a lot of ways that you could say Justin Townes Earle resembles his father but, surprisingly enough, his stylistic delivery has no relevancy to such comparisons. Though his acoustical interpretations of country and folk are not exactly reflective of Steve Earle’s rootsier, more rock ‘n’ roll-oriented nature, the younger Earle encompasses the same form of distinctive talent, impressive artistic vision, and overwhelming personal obstacles that stood alongside his father when he broke out in 1986 with the classic Guitar Town. Steve is nicknamed “the hardcore troubadour” for good reason, with his rise to stardom being that of dramatic ups and downs. He certainly had his share of legal trouble during the ’90s, ending up in jail on separate charges involving drugs and firearms. Mix these legal issues with the fact that his releases during the same time were mediocre at best and you had a musician who mostly everyone regarded as a washout. Sure, he could have done the time, gotten out of jail, and become a complete recluse, but Earle clearly had the maturity to do otherwise. After kicking the habit in jail, he returned in 1995 with Train a Comin’, an album that many perceive to be Earle at his finest. The comeback album marked the first of many albums in the second stage of his career, as Earle continues to release admirably enjoyable material to this day.

For Justin Townes Earle, he has already experienced many of the the trials and tribulations that the music industry has to offer, even at the young age of 25. Becoming an avid fan of music at an early age due to his father’s rising fame, he saw first-hand how talent is only one factor in defining a successful artist. Commitment, responsibility, and even morality were philosophical attributes of revered importance, most of which his father did not implement into his lifestyle until he was out of prison in 1995. “My dad wasn’t around much growing up,” the younger Earle said. “And when I went to live with him in my early teens, he was on the road. But being in Nashville, where you have blue-collar working class and a middle class steeped in the music business, well, you see what you learn.” For Justin, the talent is undoubtedly there and comparable to his father’s, but this also means that he has had to face many of the same temptations. Like his father, Justin had a period where drugs reigned in his life to a disturbing extent. It even was so afflicting at one point that Justin was temporarily fired by his own father when touring with them as a guitarist and keyboardist. However, it appears that talent is not the only thing that Steve passed down to his son. Like his father, Justin Townes Earle has now kicked the habit and appears to be well on his way to becoming an individualistic songwriter whose acquired maturity has a bold way of speaking for itself.

On his impressive solo debut album, The Good Life, it appears quite ironic that Earle was named after the legendary country-folk songwriter, Townes Van Zandt. Instead of linearly dwelling in the realm of one musical style, Earle follows in the footsteps of Van Zandt by simultaneously embracing both folk and country in a delivery that alternates comfortably without being overbearing. Though folk and country remain the most fixated genres at hand, Earle’s acceptance of both classic and modernistic production techniques makes for a listen that is both eclectically refreshing and nostalgically invigorating. In fact, when asked to describe his style of music, Earle likens himself to material that was even before his father’s time. “It’s not your daddy’s country — it’s your granddaddy’s country,” he states, clearly proud of the veteran folk-centric influences that many other songwriters his age do not even have the slightest familiarity for. Even more impressively, nearly half of the songs on The Good Life were allegedly written before Earle turned 18. The opener, “Hard Livin’”, is one of them, being an astute statement in itself that Earle has no problem writing an extremely catchy song. Like the majority of tracks on the album, an acoustic guitar is the most initially assuming instrument, but Earle shows his multi-instrumental prowess over an array of old-fashioned keys and steel-core strings that complements his fluidly captivating vocal delivery in impressive form.

While songs like “Hard Livin’”, “What Do You Do When You’re Lonesome?” and “The Good Life” provide for energetic examples of Earle’s infectious capabilities as , about half of The Good Life offers songs of a more somberly reflective nature. Such tracks also prove to show Earle at his most personal, especially in the concluding “Far Away in Another Town”. Showing both courage and genuine ardency, it depicts the emotional that one feels when they leave an environment and lifestyle that has stuck with them for 20 or so years. As Earle recalls, the song is representative of his battle against drugs when he was 21. “It was after my fifth overdose. I laid unconscious in a hospital room for seven days and then had a dealer deliver drugs to the hospital… just unclipped the tubing from the IV bag and shot them straight in.” It may be disturbing to think about, but Earle openly sharing his own personal weaknesses and how he overcame them is nothing short of extremely commendable. And on songs like the beautiful “Far Away in Another Town”, where the hushed strain of an organ accompanies the occasional licks of an electric guitar over Earle’s bleakly rousing vocals, Earle’s artistic vision is at its strongest. Music may run in his blood, but the stories that he tells and the emotions he expresses on the are unique to his own self. Alongside infectious tracks of a more instantaneously accessible nature, the candid fervor demonstrated on gems like “Far Away in Another Town” is what makes The Good Life a debut to look out for.

——————————————————————————————

Justin Townes Earle – Hard Livin’

——————————————————————————————

Justin Townes Earle – Far Away in Another Town

——————————————————————————————

Justin Townes Earle – The Good Life

——————————————————————————————

Bloodshot Records

MySpace

BUY

In terms of style, March seemed to have it all. Whether you find yourself personally enamored with neo-psychedelia (Jim Noir, Fujifabric), throwback folk (The Tallest Man On Earth, Sera Cahoone), epic post-rock (Our Sleepless Forest), or straightforwardly infectious indie-rock (Hilotrons, The Pharmacy), I feel content in guaranteeing that this compilation will introduce to you at least a handful of enjoyable new artists who view style as a variable in the quest for success. Your taste would have to be admirably broad to fully enjoy all 15 artists, but I would be shocked if at least one does not fit your fancy. Oh yeah, spring is here, which also means that baseball is back. My embarrassing brackets suffered at the defeats of Georgetown and Duke and the crushing feeling leaves me even more ready to move on to the sport that I love most. Go Yankees.

01. Jim Noir – Happy Day Today (post)
02. Ane Brun – 10 Seconds (post)
03. Hilotrons – Deep River (post)
04. Phoebe Killdeer & The Short Straws – Let Me (post)
05. Fujifabric – Strawberry Shortcakes (post)
06. The Tallest Man On Earth – I Won’t Be Found (post)
07. The Pharmacy – Tropical Yeti (post)
08. Sera Cahoone – Runnin’ Your Way (post)
09. Hush the Many (Heed the Few) – Revolve (post)
10. Ghost Bees – Vampires of the West Coast (post)
11. Murder by Death – Comin’ Home (post)
12. Our Sleepless Forest – The Tinderbox (post)
13. Frightened Rabbit – The Modern Leper (post)
14. Micah Dalton – Looking For a New Way (post)
15. Sleepercar – A Broken Promise (post)

DOWNLOAD ENTIRE COMPILATION>>>
(61.9 MB, .RAR file)

The charm of a vocal duet can be dependent on a variety of things. Melody, pitch, and coordination are a few of the most basic aspects, but one that continues to be constantly dismissed by musicians and critics alike is the chemistry between the two respective vocalists. Sure, it may sound a bit corny, but no one has the desire to hear emotional inconsistencies and harmonic strain just because two people fail to see eye-to-eye on a musical level. Indie-pop has been a recent style where this vocal technique has flourished abundantly, with all of the genre’s subtleties and charms most often steered toward the most melodic components at work. Much like the forms of soul, R&B, and doo-wop that ushered in the style as a more full-fledged form in the ’50s, artists continue to show no hesitation toward simultaneously sharing vocal cues. The conventional instrumental focus found in the majority of indie-pop makes these vocal presentations a commonplace source for hooks, with even minimalist instrumental structures reaping benefits from doubly effective vocal deliveries. Still, discovering a modern artist that is able to expose the craft in flawless form is rare to do. When I heard Hush the Many (Heed the Few)‘s “Revolve”, I found it impossible to ignore the genuine chemistry between vocalists Alexandra Brown (the gal) and Nima (the guy). With the classic male-female counterpoint working to perfection, I was immediately hooked.

While their name may appear to be a bit confusing upon first glance, a second look clarifies that Hush the Many (Heed the Few) fits the band’s repertoire perfectly. Though they linger most in the generally conventional realm of indie-pop, glimmerings of eccentric folk collide with chamber-pop instrumentals to create a very amiable sound that often serves to be representative of Hush the Many (Heed the Few)’s supreme originality. Brown and Nima prove to be exceptional vocalists on all of Hush the Many’s available tracks; they have a very different delivery and pitch, but they manage to create vocal harmonies that intertwine exceptionally with one another. Nima also provides bits of guitar and Brown serves additionally as the bassist, with the rest of the (current) sextet being rounded out by guitarist Jonathan White, cellist Steph Patten, violist Ella, and drummer Velibor. However, if you plan on attending a few shows by Hush the Many (Heed the Few), do not be surprised to see a different backing band take the stage each time. Though Nima and Brown are mainstays, the other slots have alternated between dozens of different performers since the group’s formation in 2004. Hush the Many (Heed the Few) now find themselves singed to Alcopop! Records with a debut set to drop sometime later this year. They only have a handful of songs available online at the moment, but if the ability demonstrated on tracks like “Revolve” and “Storyend” are any indication, there are a lot of reasons to look forward to the debut.

Like a number of aspiring acts and most of humanity alike, the beginning of Hush the Many (Heed the Few) was conceived in a bedroom; to be specific, it was Nima’s bedroom. In a creative burst that seemed nearly like a spur-of-the-moment thing, the group recorded their debut, Mind the Sprawl, in that very room. Cargo Records happened to hear it and, upon realizing its amazing potential, decided to distribute it. It later proved to be a good business decision, as all 1000 copies sold out relatively quickly. This immediate form of local success led to two headlining tours, a tour with Ed Harcourt, and appearances on radio programs sponsored by BBC Radio 1 and XFM. In addition to the Harcourt tour that he calls “a real privilege”, Nima considers the radio aspect of exposure to be vital toward the group’s apparent success thus far. “Our first radio session was with Radio 1, so that kind of got people interested in hearing us,” he said. “So through all these different forms of media and also the press we’ve had have been wonderful and people have really positively embraced us.” I hope to add another glowing review to the growing list of positive critical acclaim, as Hush the Many (Heed the Few) certainly have the talent to back it up.

As I previously mentioned, there is only a limited amount of music available online. Even so, the stylistic multifariousness represented on both studio and live recordings . That being said, I cannot wait to get my hands on a studio copy of “The Man”. Nima sings intensely over a bursting array of orchestral instrumentation, primarily aided by the constant flurry of strings. It is enjoyably infections and, even if Nima’s unique vocals provide for more varied comparisons, the orchestral-pop approach is slightly reminiscent of Owen Pallett’s work. If it sounds this fantastic when played live, I imagine the studio version will be quite astonishing. And as for the two tracks featured that were actually recorded in a studio (or a bedroom), they are crisper examples of the group’s melodic prowess.

As I mentioned all the way back in the first paragraph, “Revolve” is a very enjoyable track that seems poised to break the group out, even more so than selling 1000 copies. I would not be surprised if it finds substantial success throughout the blogosphere within the next few months, as it mixes both infectious indie-pop melodies with rich and vibrant duet-aided melodies that are commendably supplemented by impressive orchestral accompaniments. “Storyend” is a serene acoustical effort that once again sees Nima and Brown commit to an excellent vocal collaboration, backed by the subtle chirping of birds and the occasional whir of a synth pad. It is certainly the most subdued out of the three tracks, but “Storyend” has its own unique charm to it due to the exceptional atmosphere both Nima and Brown are able to mend from their vocal deliveries and fulfilling backing instrumentation. There is not yet a date for Hush the Many (Head the Few)’s full-length debut, but I will undoubtedly be keeping a watchful eye out for any news. Expressed in the fantastic quality of their current work, the sheer potential that this group exhibits in their songcraft is leaving me very impressed.

——————————————————————————————

Hush the Many (Heed the Few) – Revolve

——————————————————————————————

Hush the Many (Heed the Few) – Storyend

——————————————————————————————

Hush the Many (Heed the Few) – The Man (Live Orchestral Version)

——————————————————————————————

Official Web Site

MySpace

BUY

When I was 8 years old, my taste of music was generally limited to conventionally accessible acts in the vein of The Beatles, Radiohead, and Zeppelin. True, no one will deny the significance of any of those artists, but my taste had clearly not yet reached a level where people would respond with “who the hell is that?” after asking who my favorite new artists were. That being said, if an 8 year old trotted into their 2nd grade with a presentation assignment to share with the class their favorite artist, there is a chance that even teacher would be startled if the answer was someone like Tom Waits. Waits, as most of us know, is one of the most enigmatically successful songwriters of the past 30 years. Still though, how his ingenious lyrical intellect and blending of various – and often inaccessible – musical styles could capture the usually inattentive ears of an 8 year old is beyond me. Well, as it was easily apparent at an early age, Phoebe Killdeer had a natural tendency to stray outside the artistic norms. “Tom Waits got to me at the age of 8 and I’ve been a constant listener ever since,” the aspiring songwriter explains, effusively confident in her unconventionally fulfilling ways. It is easy to believe that songwriters are most efficiently groomed by stylistically analogous influences they discovered as a child. In Killdeer’s case, she was and still appears to be ahead of the pack.

Even before she became enamored with the individualistic audacities of Tom Waits, Killdeer also proved mature beyond her years when she expressed an interest in the choreography of dance. “I was fascinated with the relationship between movements and sounds and always felt that they communicated through a language I could understand,” she says. This sparked interest later prepared Killdeer for her current occupation as a talented songwriter with a potential that remains as high as the sky. Like Waits, she continues to disregard any stylistic norms in favor for her own tendencies. Is she a beatnik at heart? Sure, I guess you could call her that if the term fails to bother you, but Killdeer’s embrace of stylistic philosophies both old and new provides for an experience that is freshly stimulating. As for her influences apart from Waits, Killdeer believes that her most important influence derives from a broad level of sociology that we can all relate to. “People are my inspiration,” Killdeer says, referencing civilization as a whole instead of through specific individuals. “They are a never-ending source of emotions, feelings, reactions, disturbances, and surprises. If you sit long enough you will always catch a moment, just like a photographer who has caught a story, a thought in a snapshot.” For Killdeer, her first snapshot in the world of songwriting happens to be one of the most enjoyable debuts of 2008.

Like many young artists looking to get their share of experience, Killdeer began her musical career collaborating with artists who had been around long enough to know a helpful thing or two about the industry. Basement Jaxx, Bang Gang, and Nouvelle Vague were a few of these names, with the latter providing a surreal experience for the young Killdeer. After contributing to Nouvelle Vague’s second album, Bande à Part, she participated in a world tour with the French duo, apparently lasting 3 years. Knowing Nouvelle Vague’s leading man, Marc Collin, also helped out to a large extent in the long run; he went on to produce Killdeer’s solo debut, Weather’s Coming. To be released on April 1st, it is truly one of the most impressive debuts of the year so far. “It dramatizes the elements I love most about our little world; people and what makes us so undeniably us,” Killdeer says. “I wanted the sound of the album to be dirty enough to represent the quirkiness of these characteristics, so with Marc Collin we got some crazy horns, ghostly vibraphones, edgy guitars, and tribal drums together to capture the necessary mood.” And after six weeks of working with producer Marc Collin and mixer Oz Fritz in the city of San Francisco, Killdeer realized just as much as her listeners that her debut has the capability to be something special.

Alongside an extremely capable backing band that goes by The Short Straws, Killdeer’s outstanding debut tackles a variety of genres that include hints of rockabilly, blues, and folk. With tinges of surf, punk, and even funk also being evident, her ability to write addictive pop songs with such underlying stylistic leanings is extremely impressive. With Killdeer’s seductively swanky vocals complementing her eclectic stylistic approach, it proves to be a lethal combo. The lush “Let Me” utilizes forms of folk, soul, and even Afro-pop as Killdeer breezily glides over a twinkling set of keys. The keys have the simple job of providing chordal whole notes, with the single-handed spur of percussion supplementing the rhythm. Separate keys in a deeper tone appear after each verse, establishing a hook that mainly relies on the melodic similarities to nostalgic soul-like ballads. “He’s Gone” sees Killdeer playing more with elements of R&B and vocal jazz; the brass section provides for a refreshing alternative to guitars and keys. And for kicks and giggles, many will find the brass to be particularly reminiscent of… Tom Waits, of course.

For vocal jazz, however, nothing on the album can come close to comparing to “Big Fight”. Killdeer vocally reflects the melodic arrangements of each brass instrument, providing a “bang!” for every note during the bridge. She whispers seductively and croons like a jazz bar veteran throughout the entire track, backed by a devastatingly infectious instrumental section; the music is compliments of the outstanding The Short Straws. “I Get Nervous” is one of the most devastatingly haunting tracks I have heard so far this year. An organ leads this minimalist gem as the reverb-soaked Killdeer asks, “Why can’t love be a little easier on me? Scratch me, pinch me,” before the brooding rush of guitars and percussion. Almond also provides outstanding production, using techniques of implementing orchestral elements into pop music somewhat similarly to Matthew Herbert. Even tracks in the vein of traditional Americana and rockabilly, like “Paranoia” and “How Far” respectively, bode well. However, it is in avant-garde gems like “I Get Nervous” and “Big Fight” providing the best examples of Killdeer’s outstanding songwriting, even if “Let Me” remains the most instantaneously infectious. If you fail to pick up Weather’s Coming on April Fools’ Day, the joke is simply is on you.

——————————————————————————————

Phoebe Killdeer & The Short Straws – Let Me

——————————————————————————————

Phoebe Killdeer & The Short Straws – Big Fight

——————————————————————————————

Phoebe Killdeer & The Short Straws – I Get Nervous

——————————————————————————————

Official Web Site

MySpace

BUY

These days, it seems that anyone can call themselves an “artist”. With the internet and other forms of digital technology allowing for mass distribution of various art forms for little to no cost of production, it is not a difficult task for one to capture at least a handful of fans if the quality of one’s music, film, or illustration is commendable and it is promoted with modernistic sensibility. This creates very desirable circumstances for those who tend to classify themselves as eclectic artists, seemingly trying their hand at nearly every style of art imaginable. Sure, anyone can attempt to succeed gracefully, but actually doing so in all areas of music, film, and illustrative tasks is a rare feat that only a select few have the raw ability to accomplish. Though Sage Rader is far from being a recognizable name at this point, I imagine that those who look at his list of artistic accomplishments would not be surprised if he breaks out soon. Rader spent some time as an acclaimed poet (The Guardian called him the “Michael Moore of Poetry”, whatever that was meant to say), an actor (he was in “Beyond the Ocean”, a film nominated for the Sundance Grand Jury Prize), and an illustrator (he published an illustrated confessional titled “Sex Drugs and Sunday School”). While these accomplishments are merely the markings of a young artist looking to try his hand at a variety of crafts, it simply goes to show that Rader’s great potential can be seen as something of a dying art in itself.

Following in the footsteps of Leonard Cohen or any number of poets or writer who successfully became great musicians in the process, Rader hopes that his most recent project finally finds him the success that he has openly yearned for. Calling it a recent project would be slightly erroneous though, as Rader has been refining his musical skill; since he was a young schoolboy in England. Violin was his first attempted instrument, later studying it at the Oberlin Conservatory of Music. He pushed aside his musical endeavors for a short time while pursuing other arts, but it came of little surprise when he found himself back where he started, with more skill and experience to boot. However, it was not until a meeting at an art show last year that Rader’s musical ambitions began to blossom yet again. He met Shaun “Stakka” Morris, a Brighton-based DJ and producer, and the two found each other holding similar intentions to their heart. To gauge his musical intentions, Morris gave Rader a copy of a Ror-Shak album, derived from the project Morris had been working on with DJ DB. “He did an interesting little sketch with violin over one of the tracks,” Morris said of Rader. “We stayed in contact, and he brought some tracks ‘round my studio that he’d been working on.” And thus, after sporadic stages of compiling and mixing, Ready Fire Aim was born.

For several consecutive months after their first meeting, Rader and Morris continued to work together by swapping demos back and forth, eventually deciding on a sound that satisfied both their needs. Their first album, This Changes Nothing, eventually emerged and is scheduled for a May 27th release on Expansion Team Records. The result sounds like a hybrid of Depeche Mode, Nine Inch Nails, and synth-rock revivalists in the vein of White Rose Movement and She Wants Revenge, both of whom capitalize on such aforementioned influences in order to produce a more accessible and danceable sound. Both Rader and Morris appear to split their work evenly, with Rader providing leading vocals and a few instruments while Morris tackles the bulk of the production aspects. “I’m a big fan of processing, even to the point of extremes,” Morris said. “I mean, when the mix was near completion, we were recording big chunks of the actual record back into samplers to mess around with it. It could be something simple at the end of a track, like a whole beat section sinking into a filter or going through a bit-cruncher — there’s some crazy stuff that can be had out of that. If you keep that processing mentality going, you can get to an interesting place.”

I will also go on to say this one thing: This Changes Nothing is not for everyone. Considering that the group takes its dues from a melodramatic style of synth-pop that dominated the ’80s, I expect to find a handful of critics bashing Ready Fire Aim for having an outdated sound . While originality is truly only found in Morris’ unique methods of production, it is simply the duo’s ability to write catchy pop songs that makes This Changes Nothing a worthwhile listen. Both Rader and Morris appear set to release “Wannabe Your” as the debuting single and – while I find it too generic – the simplistic hook is enjoyable enough to garner a substantial amount of radio play. It would actually be easiest to compare the track to an early effort from Collective Soul. Still, I find myself more attracted to tracks like “As If It Were That Easy”, a slow-tempo charmer that shows shades of Erasure as Rader reaches a falsetto that Andy Bell would grin in delight upon hearing. More brooding tracks in the vein of “Beautiful Thing” and “So Fine” remind me of early Depeche Mode; the simultaneous emphasis on both synth-pop and dance supplies a variety of commendable hooks, even if the lyrics happen to be overly cheesy at times. Showed best on “Beautiful Thing”, Rader and Morris have the ability to make the seamless transition from minimalist synth-pop (a single synth and drum loop) to grandiose depictions of dance with keys, guitars, and varying degrees of percussion on full display over Rader’s suitably ardent vocals. Sure, This Changes Nothing will not be hailed as a breathtaking achievement when it drops on May 27th, but a substantially sized niche will undoubtedly find solace in the duo’s nostalgic trends.

——————————————————————————————

Ready Fire Aim – Beautiful Thing

——————————————————————————————

Ready Fire Aim – As If It Were That Easy

——————————————————————————————

Ready Fire Aim – Wannabe Your

——————————————————————————————

Official Web Site

MySpace

BUY

With acclaimed artists like Belle & Sebastian, Franz Ferdinand, and Mogwai becoming highly reputable names over the past few years, even the youngest of indie-rock fans are beginning to recognize the Scottish town of Glasgow as arguably the most productive city for new and talented musicians. While one would be able to make a compelling argument for other cities being more active in relevance to music-related quantities or other financial matters, the music scene in Glasgow has always been recognized as ceaselessly exciting due to the sheer amount of stylistic variety. There are no forms of stereotypical rock ‘n’ roll, hip hop, or country to be expected from the city’s most successful artists, but rather a smörgåsbord of different artists who achieve success from stylistic methods that differ dramatically from one another. Whether one prefers the epic post-rock of Mogwai, contemporary indie-rock in the vein of Franz Ferdinand and The Fratellis, or varied legends of their craft like Aztec Camera, Teenage Fanclub, and Orange Juice, Glasgow is a city where musical tastes are not a variable factor in an equation for artistic enjoyment; one will find some form of localized satisfaction regardless of their preferences, as the city offers a plethora of artists suited for a wide array of tastes.

Though Glasgow serves up plenty of artists who take their style from no geographical archetypes, Frightened Rabbit happen to be a band that American and British fans will have a difficult time differentiating from the form of indie-rock that they have grown accustomed to. I mean that mainly as a compliment too, as the four-piece sees substantial success from a generally accessible methods of successful indie-rock songwriting that rely on overlapping vocal melodies, driving guitar progressions, and steadfast rhythm sections in similar forms to that of western indie-rock staples like Modest Mouse, The Shins, and even the Arcade Fire when their early releases propelled them into a state of cult-like fanaticism. Like fellow Glasgow-based contemporaries Belle & Sebastian, Frightened Rabbits’ broad sense of ambition remains admirably prevalent, yet they allow enough room for such aforementioned classifications of indie-rock conventionalism too be classified more appropriately as independent futurists. Founding members Scott and Grant Hutchison probably meant for their craft to be delivered in such a familiarly comforting form as well, as the brothers have shown a noteworthy amount of potential since they formed the group in 2004. With Scott as a guitarist and Grant as a percussionist, the two originally began writing songs and preforming them for family members. Upon the urging of friends and family, they eventually decided to pursue the project full-time. Guitarist Billy Kennedy joined the group in 2006, with bassist Andy Monaghan making his debut with the band earlier this year.

When Frightened Rabbits started work on their second album, The Midnight Organ Fight, the four members found themselves in a position that was quite unfamiliar to them. For the first time in their musical careers, they had others apart from their families and friends in Glasgow who recognized their talent. Because of their critically acclaimed debut, Sing the Greys, in 2006, Universal decided to pick up the album and re-release it in the U.S. and U.K. last year. Now, after playing at a variety of American shows and festivals like SXSW in a coinciding effort with their re-release, they have amassed an overseas audience that is very respectable for a band with merely one album. On an artistic standpoint, The Midnight Organ Fight also proves to be the first opportunity for the group to rework any of the minor flaws that dragged Sing the Greys down. Considering that it got in the hands of many people, they likely had plenty of critiques to work off of. Well, whichever method they chose to use, The Midnight Organ Fight is a significant step-up from their impressive debut. Produced by Peter Katis (he was behind the first two Interpol albums and the two most recent albums from The National), it represents an improvement upon both aspects of production and the songwriting.

The four members of Frightened Rabbit also consider The Midnight Organ Fight to be the most personal piece of art they have released. “This album [The Midnight Organ Fight] is a lot more intense than the first one. There’s a lot more blunt imagery,” Scott Hutchison said, alluding to the somber feelings of suicide, depression, and regret that lingers throughout the album. Still though, Scott considers optimism to be a proud component of his band’s lyrical output. “I always feel that no matter how morose the subject matter, there’s always a way that we – as a group – find of putting a positive slant on it, whether it be a depressing lyric put to a really pleasant melody or just a positive spin in the end. I hope people don’t feel depressed when they listen to our music.” With the abundance of hooks, fleeting melodies, and underlying instrumental additives, I doubt Scott has any reason to worry about listeners feeling down. Take the opening “The Modern Leper” for instance, an infectious tune whose success owes a significant amount to Hutchison’s distinctive Scottish accent. In stark contrast to Glasgow-based bands like Belle & Sebastian or The Jesus and Mary Chain, their accent is enjoyably evident and adds a uniquely enjoyable flavor to the result. Despite the lyrics foretelling the impact that ignorance has on societal limitations, melodic elements like Hutchison’s genuine yelp during the song’s bursting chorus can’t help but remind listeners that hope always has a chance of prevailing in the end. And on Frightened Rabbits’ gratifying Midnight Organ Fight, the sense of hope has turned simply into an element of great expectancy; instead of treading in unfamiliar waters, Frightened Rabbits’ newest effort commendably shows them as a band comfortable with their own stylistic delivery.

——————————————————————————————

Frightened Rabbit – The Modern Leper

——————————————————————————————

Frightened Rabbit – Fast Blood

——————————————————————————————

Frightened Rabbit – Head Rolls Off

——————————————————————————————

Official Web Site

MySpace

BUY

Many hold the belief that ambient music serves as arguably the epitome of musical inaccessibility, with the lack of vocals and concise melody requiring several attentive listens to wholly and memorably consume. It occasionally leads those to disregard the genre as a whole in substitution for more melodically identifiable styles, resorting to some styles of pop and rock as an exclusive alternative. However, what these people often ignore are the intricacies of the given genre. Quality ambient music is just like a classic novel or film; one discovers something new in terms of thematic relevancy, artistic ingenuity, or structural tendencies each time re-read or re-watched. This obviously does not apply to all artists in the respective niche, but patience and an attentive ear will surely reward those who choose to put forth an effort. The appeal of ambient music for those who steer their tastes toward the mainstream will obviously be limited, but I have found that most people who read this site have a very refined and open-minded taste. This is the primary reason why I chose to feature Our Sleepless Forest, a young trio who specializes in a variety of experimental genres, with ambient and post-rock being the most prevalent.

One of the reasons why I consider the independent music scene to be perfect for those with an open mindset is the acceptant nature it has toward genres of all kinds; quality is looked upon as quality and not much else. Whether you dwell in structurally predictable pop music or otherworldly experimental post-rock, audible excellence will find you a fan base. In the case of Our Sleepless Forest, I believe that their talent alone will speak volumes and propel their status past the hordes who regard the ambient genre as nothing more than background music to a David Lynch film. Their implementation of samples provided over subtly intricate instrumental arrangements often creates an emotionally empowering force, with sentiments like desolation, romance, and other perils of human nature expressed audibly without even providing a moment of lyrical insight. It hearkens back to the days of classical music, where emotional expression was the primary purpose for musicians (compared to modernistic terms where catchiness and financial benefits seem to be at the forefront). The three guys in Our Sleepless Forest share a similar mentality, with members Sam Purcell, Josh Rothberger and Karl Jawara expressing a form of avant-garde ingenuity on their debuting album that is nothing short of commendable.

Barely of legal drinking age, the trio met at school in South London and instantly found that they shared a common interest for the aspects of music production. They toyed around with a variety of software and basic recording equipment for over a year before emerging with material that they felt was of substantial enough quality to share. The result is a 45-minute debut spanning 8 tracks, all of which express the delicate ingenuity contained in Our Sleepless Forest’s sound. An early version of the breathtaking “The Tinderbox” caught the attention of Type Records, who included the track on their Free The Future compilation, eventually leading the band to a deal with Resonant Records. Impressively enough, the final version of “The Tinderbox” is even more fulfilling. Like all the tracks on Our Sleepless Forest’s self-titled debut, it is bursting with numerous layers of instrumentation that is enhanced by several unique methods of production. The sounds of intentional hissing and crackling are evident to an extent, but fortunately not enough to disrupt the instrumental focus that is provided by the ethereal strumming of an acoustic guitar, the subdued murmur of backing synths, and the slight frequency of weightless keys. Over a variety of sound effects produced by nature (birds chirping, blowing wind), vocals are subtly present, but they are used as an instrumental additive rather than the conventional lyrical usage. The wash-out effect is one instance of the trio’s innovative production techniques, with the unique use of panning also creating an enjoyably chaotic effect.

Our Sleepless Forest demonstrates confidence by opening up the album with “Nomads”, a sprawling and majestic track that is slightly reminiscent of Animal Collective’s epically instrumental nature. The bustling of synth pads and guitars are present in steadfast form during the song’s first several minutes. Eventually all instruments become subdued as the pad increases in velocity, uplifted in intensity by the murmur of a sitar and a variety of samples that depict a variety of sounds from ambiguous screeching to tribal chants. The conclusion is kicked off by the exotic shuffle of a percussion solo, with all the instruments compiled throughout the song making one final appearance as the song’s final minute proves to be a summation of all previous instrumental events. The serene “Doors In Limbo” is a great example of Our Sleepless Forest’s lighter side, employing a variety of string-like synth pads over the twinkling effect of several underlying keys. It manages to simultaneously capture beauty and elegance as the strings heighten in attentiveness as the track increases, eventually leading up to a remarkable change in key. It is arguably the most instrumentally linear track on Our Sleepless Forest, but the varied emotions it captures reminds me of the remarkable musicianship demonstrated by artists like Katsuhiko Maeda and Mogwai. If you are looking to get your fix of experimentally ambient psychedelia, Our Sleepless Forest have created a debut that is – so far – the best of the year in its respective genre.

——————————————————————————————

Our Sleepless Forest – The Tinderbox

——————————————————————————————

Our Sleepless Forest – Nomads

——————————————————————————————

Our Sleepless Forest – Doors In Limbo

——————————————————————————————

MySpace

BUY

The difference between music awards in North America and Europe often astounds me. Sure, a “Grammy Award” is universally synonymous with quality on each side of the Atlantic Ocean, but the exposure that it provides the artist with differs dramatically. The American version of the “Grammys” tends to recently be more fixated on popular forms of rap, R&B, and bland mainstream pop, leading those genres to be the most profitable among musicians in the respective country and elsewhere. While the award is obviously not the most defining factor in attributing to a conventional music taste, it certainly plays a big role. Though I often find myself disregarding the awards to an understandable extent, I can’t help but wish that the mindless award shows in the US were more like their European counterparts, in which quality can actually have the potential to overshadow superficial aspects of melodramatic imagery and commercialism. That being said, I can’t remember the last time the American version of the “Grammy Awards” gave a prominent award in the vein of “Best Female Artist” to someone as naturally skilled as Ane Brun. It may serve as a shock to younger readers, but Brun actually won the Norwegian version in 2005 without flagrantly promoting rampant drug use, wearing revealing attire the size of a handkerchief, or producing an “accidental” sex tape. Yeah, amazingly enough, she actually won the award because of her musical skill alone; it is a stark contrast from what modernly defines commonplace talent in the US.

Though I yearn for the day were an artist like Brun wins any mainstream music award in the US, those who already enjoy her should consider the desire irrelevant. For purpose of enjoyment, if if you have the ears to recognize her impressive ability, your individualistic viewpoint should be the most important factor in identifying her as an artist to keep an eye on. Brun kicked off her songwriting career in 2003 with her debut, Spending Time with Morgan. The reception was impressive, as European audiences and critics alike fell in love with her ability to produce elegantly haunting alternative-folk with lyrics that were both descriptively revealing and emotionally charged. Considering that the likes of Feist and Neko Case have enjoyed a recent surge in popularity in America, I would not be surprised if Brun’s newest album, Changing of the Seasons, sees her success carry on to foreign shores. A 32-year-old native of Norway, Brun first picked up the guitar only 11 years ago, proving to be a quick learner when she released her debut album only 6 years later. With her debut, Spending Time with Morgan, originally only released in Europe, Brun’s second album, A Temporary Dive, was her first album released in both the US and Japan when it dropped in 2004. Like Spending Time with Morgan, it was released on DetErMine Records (Brun’s self-founded label) but was picked up by V2 for distribution in the US.

The interestingly appealing Duets was released in 2005, featuring Brun singing singing 10 duets with talented Norwegian and Swedish artists like Lars Bygdén, Tingsek, and Tobias Fröberg. Though the names will be unfamiliar to most audiences outside of Norway and Sweden, the album’s fantastic quality speaks well for the current music scene in Norway. After releasing a live album in 2007, Brun headed to the studio to work on Changing of the Seasons, which was released on March 12th. It is produced by Valgeir Sigurdsson, who is known for his excellent work with the likes of Björk, Sigur Ros, and Múm. Brun currently resides in Sweden and her musical approach fits in nicely somewhere between the contemporary pop and folk the country has become reputable for. Her instrumental focus varies between a plethora of acoustic guitars, strings, and keys on Changing of the Seasons, with each playing the role as melodic role alternatively between each song. The powerful “10 Seconds” sees Brun and a gospel-y backing vocal section glide seamlessly over the delicate progression of a piano. The chorus introduces the gradual use of strings, an instrumental feature that is used to excellent consistency throughout the album. “It is those ten seconds, those ten seconds in your head,” she sings. “When you don’t wonder if you’re alright, when you’re just hanging around with yourself – with yourself.” The chorus alone marks the point of a devastatingly haunting hook, primarily guided by Brun’s uniquely empowering vocals, the string arrangement, and the underlying twinkle of keys. It is a perfect example of Brun’s raw talent.

“The Puzzle” serves as the album’s new single, and it is a good choice on Brun’s part. It is certainly one of the more fast-paced tracks on Changing of the Seasons, especially when considering that the appeal on stunners like “My Star” and “Gillian” has a lot to do with Brun’s delicate vocal delivery interchangeably evolving over beautiful instrumentation. Commendable instrumentation is once again prevalent here, though the sense of urgency is appropriately in full form in regard to both vocal delivery and melodic instrumentation. “I walked into love. I walked into a minefield I never heard of,” she opens the song as strings build under the gentle progression of an acoustic guitar. The use of xylophones makes an enjoyably innovative entry after the introduction, providing the precise moment that Brun increases the speed of her delivery. She compares the fallacies of love to a jumbled puzzle, noting that friends and family can help put together the “corners” of the puzzle but that you have to put singular effort forth in order to “fill in the frames”. The usage of metaphors is prevalent throughout the album and it does so without being pretentious or overbearing, instead being understandable and poetically invigorating.  Brun has the lyrics to all the songs in her catalog on her site and it is well worth a look, especially given Brun’s blatant poetic ability. She may currently only be acclaimed in Europe, but given the outstanding Changing of the Seasons, I would be shocked if Ane Brun does not break out globally by the end of the year.

——————————————————————————————

Ane Brun – 10 Seconds

——————————————————————————————

Ane Brun – The Puzzle

——————————————————————————————

Ane Brun – The Treehouse Song

——————————————————————————————

Official Web Site

MySpace

BUY

While some people listen to music purely for the melodic features alone, there are others who value lyrical content just as importantly (or even more so) than the other audible aspects involved. Personally, it varies between genres for me. I usually do not pay much initial mind to the lyrics in some dance tracks or even some pop songs, mainly due to the domineering melodic focus that an artist occasionally attempts to convey. I never disregard it entirely, but occasionally paying no mind to such features enhances the listening experience, especially if the songwriter is not a capable lyricist (which is suitably the case with many dance and pop songwriters). It is common sense in life: to enjoy yourself, try to disregard all the negative aspects of a situation. It is certainly impossible in some areas of life, but most music allows you to do so without a hitch. That being said, when I receive an album that I have never listened to before, the most background reading I found myself doing comes in the form of a one-sheet or concise biography. Up until now, I have never been provided with a short story of sorts to accompany an album. If done right, it is an extremely innovative way to complement the lyrical content throughout the release, just as a new artist recently taught me…

Though I have never met him personally, it is quite easy to tell that Micah Dalton is a risk-taker. Apart from the fact that his musical style is an appealingly intrepid mixture of folk, blues, soul, and R&B, Dalton has provided an extremely unique experience for the release of his third album, Pawn Shop. Many of us have listened to concept albums in some form before that were based on works of literature, but very few can say that they heard an album where the artist based his lyrics off of literature that was written specifically FOR the respected album. In addition to providing an enjoyable album with 12 tracks, Dalton has enlisted Jewly Hight to write a short story told in 12 vignettes. Included in the album sleeve in one pamphlet, each story represents a different track. The plot is ongoing, depicting a traveler by the name of Pawnshop who undergoes the unexpected adventure of his life while stopping by the quaint town of Mineola on his route to Atlanta. It plays slightly like a Tarantino screenplay, providing clever humor and plenty of action in a desolate setting where entertainment is to be unexpected. On a side note, a quick Google search reveals the author, Ms. Hight, to be an aspiring musician herself, with “White Knuckles” on her MySpace being well worth the listen. As the name of the love interest eludes to, the story is one containing central themes of commitment and desire. With Dalton and the character of Pawnshop having several striking similarities, it makes listening to Pawn Shop a very enriching experience.

Along his journey of peril and self-discovery, Pawnshop comes across a slew of interesting individuals, such as an impetuous preacher by the name of Reverend Julius Ramshack, a shotgun-wielding but kindhearted housewife named Eula, and a disgruntled local who also acquaints himself with a firearm. Yes, the protagonist (Pawnshop) gets a gun pointed at his face three times throughout the story by three different characters, but the ending result sees him continuing on his path to discover a job in Atlanta and appease his beloved who is hundreds of miles away, the lovely Desiree. The most interesting character, however, is Ramshack, a foul-mouthed preacher who insistently proclaims God to be the almighty despite contradicting his beliefs in nearly every action and vile word spoken. His is exposed best in “Rev. Ramshack Run”, an appropriately stylized blues number that sees Dalton providing his suave and raspy vocals in infectious form. “Ramshack and run, go on and get your gun!” he exclaims. “Get one for Petey, he does not have one.” The lyrical content and character itself serves generally at a swipe at those who contribute significantly to the immorality of society due to selfishly contradictory beliefs, but even Dalton would admit that Ramshack is a great character who deserves exposure, regardless of whether he is described through music or literature.

In terms of general songwriting, “Looking For a New Way” is the best track on Pawn Shop. With a B-3 organ and toy piano providing the melodic backbone to a flurry of acoustic guitars, tight percussion, and backing vocals, it is the best demonstration of Dalton’s abilities as a songwriter. It begins in simplistic acoustic form but gradually builds in instrumentation. When Dalton delivers his fantastic croon with increased ardency when an additional guitar progression emerges, the song begins to pick up momentum. The percussion is revealed in the chorus over Dalton’s vocals and acoustic guitar shortly afterwards, later introducing a nice bridge accompanied by a variety of male and female backing vocals. When Dalton repeats the chorus one last time, one can’t help but grin at the outstanding potential “Looking For a New Way” alone shows. “We Came Alive” is also worth the listen for its beautiful use of strings, complementing Dalton’s tenderly endearing vocals to perfection. It also is very demonstrative of his falsetto toward the song’s ardent conclusion, signifying just how broad Dalton’s vocal range truly is. Speaking of enjoyable love songs on the album, “I’ll Find You In Ohio” serves as an ode to the Pawnshop’s love interest, Desiree. While the songwriting does not reach the heights of “Looking For a New Way” or even “We Came Alive”, the mixture of keys and twangy guitars provides for a very radio-friendly track. Accompanied by a Southern Gothic narrative, the impressive Pawn Shop is now available.

——————————————————————————————

Micah Dalton – Looking For a New Way

——————————————————————————————

Micah Dalton – Rev. Ramshack Run

——————————————————————————————

Micah Dalton – I’ll Find You In Ohio

——————————————————————————————

Official Web Site

MySpace

BUY