Raising the Fawn – “Drownded”
The North Sea
While parts of this album stray into the falsetto melancholy of bands like Aereogramme and For Stars, the meaty guitar and willingness to extend their songs into epic territory (at 11:11, this is the longest on the album but not by far) make Raising the Fawn a bit more exciting. “Drownded” covers a lot of ground, or water as it were, and while it leaves plenty of space to breathe, it never gets boring and the songwriting is just plain solid.
Tape – “Switchboard Fog”
Milieu
Crickets don’t chirp, nor birds sing, to a score. There is no conductor. Perhaps that’s why Tape’s haphazard harmonies and pastoral noodling are so compelling. They lack the exactitude of produced music. This track and others on Milieu, their best album, are less like songs and more like a dawn chorus of guitars, keyboards, and bells.
Tarentel – “Two Sides Of Myself (pt. 1)”
Ephemera
A shimmery exhalation from this variable band’s collection of singles. Like taking a slow boat through a tunnel of stars. And also, you’re drunk.
Kepler – “The Changing Light At Sandover”
Fuck Fight Fail
While their follow-up to this album, Missionless Days, is a quiet masterpiece, this one is far more ambitious and their sound expansive enough on it to rival Mogwai and Explosions In The Sky. But somehow it remains intimate. Past the first couple minutes of crashing intro, this is a remarkably delicate song. The same can be said for the other long track on this album, “Upper Canada Fight Song,” which has an even more Mogwai-esque closer. (insound)
Macha – “Calming Passengers”
Forget Tomorrow
The synth-rock Macha creates is usually poppy and forgettable (not in a bad way), but they occasionally exhibit just a fantastic ear for sound. The ripples constituting the waves of sound lapping along in this song are superbly matched, and the overall rhythm, while not dancey, is difficult not be become caught up in.
Gravenhurst – “Song Of The Summoning”
Internal Travels
It’s difficult to choose between Gravenhurst’s rich Flashlight Seasons and the delicate, straightforward Internal Travels. Fortunately, you don’t have to. They’re both great, and the latter is packed with songs like this one, unassuming yet melancholy, but without a hint of preciousness.
set fire to flames – “steal compass/drive north/disappear”
sings reign rebuilder
An album with a story, and a few actually great songs. The tender opening strains in “I will be true” recall the quiet sections of Godspeed’s earlier albums, and tracks like this one have the power of their more operatic tracks without the fluff.
Volta Do Mar – “The Sound of Day”
At The Speed of Light or Day
This introductory track to an interesting, slightly math-y instrumental album was one of the tracks that made me give a little more credit to bands who seem to value harmony but choose dissonance. Here was a track that so clearly lived in both worlds that I couldn’t help but be patient and just listen.
At The Close Of Every Day – “ All Things End In Waters”
The Silja Symphony
A calm and delicate song, with a lot of subtle craft in it that sets it apart from the herds of voice-and-acoustics out there. Reminds me of Damien Jurado, but I like this better. A bit of extra instrumentation and some unexpected minor harmonies make it less predictable than its unassuming strumming seems to imply at first.
Pelt – “True Vine”
Ayahuasca
Somewhere between the Eastern frenzy of Shalabi Effect and the supernatural introspection of Charalambides lies Pelt, whose string-and-feedback drones and acoustic soundscapes are difficult to pin down in any way. “True Vine” is my favorite of their long tracks (though there are several good ones), with its menace and beauty in perfect solution. It’s like watching the world burn, through a silk veil.
Julianna Barwick – “White Flag”
The Magic Place
This album, mostly vocal, is unique and compelling but not an everyday listen. As the title suggests, it’s a “place” rather than, say, an adventure or experience, and each song seems to describe a different set of surroundings. White Flag seems vaguely African (in a “Graceland” way) while the title track is like a stone church. At any rate, it’s a relaxing and soft album and this is a good song. (insound)
Frederic Chopin – “Mazurka in D minor, Op. 33 no. 2”
A short ride in an modest (but elegant) brougham.
Givers – “Ripe”
In Light
From an uncertain beginning (on both the album and this song), a confident and memorable song. Once it actually starts moving, about a minute in, this catchy tropical romp demonstrates a surprising breadth of sounds, and some effervescent, precise guitar/vocal interplay. (insound)
Ms. John Soda – “Elusive”
No P. Or D.
This old (2002) album is still my favorite of Ms. John Soda’s; others I’ve listened to have continued the sound, but the well-crafted lap-pop of “Misco” and “Elusive” is as fresh today as it was nearly 10 years ago, and the rest of the album is still solid. I like the little fade-out on this one, mirroring the fade-in of the first track. (insound)
Sister Crayon – “(In) Reverse”
Bellow
With shades of Nudge, but with more of a focus on the vocalist’s soft but soaring voice, Sister Crayon’s Bellow is a thoroughly pleasant album which, while it rarely ventures too far in any direction, succeeds very well at what it does. There are a few times when they transcend their own type – the brief ending revel of “Stem,” or the mechanical repetition of “Anti-Psalm,” but for the most part it’s just a beautiful place to inhabit for an hour or so. (insound)
School of Seven Bells – “Sempiternal/Amaranth”
Alpinisms
I had no idea this group, composed of former members of Secret Machines and On!Air!Library!, even existed. But their rhythmic, synth-washed, brand of whatever it is caught me by surprise at a coffee shop and I immediately picked up this album. This song isn’t the most representative, but it is perhaps the most striking – a metronomic, pitch-perfect opener (Sempiternal, presumably) followed by an extended mantra-like build-up and crash, and then a warm, prickly blanket of a coda. Unique and confident music-making. (Ghostly)
Dirty Three – “Lullabye For Christie”
Whatever You Love, You Are
Inevitably, whenever I run into a “what’s the saddest song in the world” discussion or article, my mind jumps immediately to “Lullabye For Christie.” Sure, there things like “Tears In Heaven”, Barber’s Adagio For Strings, much of A Silver Mt. Zion’s first album, and more recent stuff like The Antlers’ Hospice. But I always come back to this simple call and response, its inexorable, funereal procession and final unhinged shriek. Soundtrack to a burial at dawn.
The American Analog Set – “Aaron & Maria”
Know By Heart
This whole album passes by in an instant, and not just because it isn’t particularly long. It’s just so pleasant, and so of a piece. Nothing but tight playing, sweet melodies, and soft singing – yet it isn’t twee, nor pretentious or cloying (though it is arguably innocuous). It’s just plain good.
Labradford – “David”
Fixed::Content
I had a minimalist music phase in college – when I discovered not every song needs to have drums, keyboards, bass, samples, voice, and so on. Labradford and Stars of the Lid are the main finds from that period, and Fixed::Content remains one of my go-to albums for days like today, when “real” songs just grate. Even though there are only four tracks on it, “David” still feels like a last farewell after the epic “Twenty.” Its pleasant synth washes and Labradford’s signature thoughtful plucking give it a sense of finality.
Unwound – “We Invent You”
Leaves Turn Inside You
The primary purpose of this track is to signal that something big is coming. That incredible noise, which, yes, does go on for a full two minutes, is like a priming coat for your ears, preparing them for this incredible and unique album. It’s a sign of a truly great band that they were able to encompass so many sounds and yet stay cohesive. Leaves Turn Inside You is definitely a milestone.
Gang Gang Dance – “Nomad For Love (Cannibal)”
God’s Money
The last “song” (more a movement) on this album, sandwiched between two scary and beautiful instrumental pieces. God’s Money is utterly insane all the way through, and definitely better than their poppier follow-up, Saint Dymphna (excluding that album’s opening one-two). It lives in the same totally self-contained world of early Espers, Oval, Charalambides, and other bands that created a world of their own for the space of an entire album or more. The cover art is fantastic as well.
Chopin – Piano Sonata No.2 (Op. 35) (Grave – Doppio movimento)
Another beautiful, breezy, endlessly surprising piano piece. I don’t know who’s playing, but from the powerful expression I’d guess it’s Horowitz. The variability seems almost improvisational, but it rewards repeated listening with wonderful motifs. But listening too closely to Chopin is like studying butterflies.
Animal Collective – “In The Flowers”
Merriweather Post Pavilion
So the last thing I listened to from Animal Collective was Here Comes The Indian from 2003. Then I keep hearing about this album and the guys’ side projects and think well, what’s the harm in giving it a listen. Why didn’t anybody (other than practically every music blog and magazine) tell me it was this good? I’m very disappointed that I can’t walk down the street without being earpunched by the same goddamn Kesha song for a year straight, but somehow I haven’t accidentally heard a single Animal Collective song since I was in college. Crazy cover art here.
Set Fire To Flames – “Steal Compass/Drive North/Disappear”
Sings Reign Rebuilder
This is one of those albums with a story, which is well worth your looking up. It’s essentially some of the Godspeed crew locked into a house for a week or so playing with instruments and samples of street preachers. It’s a pretty raw affair, but there are lots of great moments and this track is one of the most accessible to the slow-build post-rock style coveted by Godspeed fans.
Laura Gibson – “Shadows On Parade”
Beasts Of Seasons
One part plaintive singer-songwriter, one part… well, no, she’s all plaintive. I think this is a bit like a female M. Ward, perhaps, but it’s not that simple. She has the poetic effect of Tiny Vipers, but a more varied palette of sounds, calling on other instruments, ambient noise, and even the occasional drum. It’s snuggling music, but that doesn’t mean it’s innocuous. (insound)
