Carl Sandburg Visits Me In A Dream

Those of you that have been reading CSV for a while know of my fondness (note: shout out to Henry) for Grace Potter & The Nocturnals, and you might imagine my excitement when I first opened up the sophomore release This is Somewhere from the bluesy-folk-rock quartet. To be frank, I wasn’t completely blown away by the first listen, which was quite a surprise to me. The album has everything that would give it that punch: Grace Potter’s incredible vocals (!!!), a band that can rock it out but also tone it down, and and an awesome album cover. Okay, maybe the last one doesn’t mean anything, but all these factors started to seep in on subsequent listens.

The album certainly begins strongly with “Ah Mary”, a more Sunday-rock track that really illustrates the band at a level of comfortableness (not complacency!). Leading into “Stop The Bus”, a piano-guitar-harmonica-heavy ditty that has Potter’s voice fluctuating from high intensity to a soft gentleness. My personal favorites are the less-produced Kelly Clarkson-like “Mr. Columbus” and the horn-enhanced “Mastermind” that explodes into an incredibly delightful chorus.

Grab yourself a copy of This is Somewhere.
Listen to “Mr. Columbus” (4.7/5)
Listen to “Mastermind” (4.6/5)

Out of North Carolina comes a funky-fresh septet The Old Ceremony–a collective bent on crafting some finely tuned tracks that skirt the hit-and-miss genre that is indie pop fusion (we’ll say it’s a genre for now). The Old Ceremony reminds me of Chicago’s very own “Baby Teeth”, about whom I blogged a few months back. Lead singer Django Haskins’ vocals are clear and effusive, backed by a band that can break it down like it’s nobody’s business. Their sophomore release Our One Mistake was actually released in late 2006, and to be honest, I’m surprised that I hadn’t heard anything about it.
Granted, this album does have a good number of misses, but to neglect the “hits” would be criminal. “Get To Love” is a high-charged, piano-pounding delight that will have you rocking out in no time. Or take “Papers in Order” (video above), which just may be one the best (ya heard me right) songs I’ve heard in quite a while.

Go and give some love to The Old Ceremony: Buy Our One Mistake.
Listen to “Papers in Order” (5/5) (see video above: 4.9/5)
Lisetn to “Get To Love” (4.8/5)

Coming back after a few years apart, Jenny Lewis and the gang have joined together to put together Under the Backlight. While the pitchforks and other critics engrossed in music snobbery (oh no, not here!) have been trashing the album as “too run-of-the-mill” or “too accessible”, I would venture to say that this is the most delightful product to come from Rilo Kiley yet. Maybe I’m a sucker for those 70s-disco riffs, or those lazy guitars, or the sweet siren song of a one Jenny Lewis–but I have found Under the Backlight utterly enjoyable. There’s nothing too complex about the formula used by RK–a lovely singer-songwriter, some indie spunk, and simple, catchy arrangements.

Some indie critics have and will label this album a “derivative”, but in the end I’m not sure that’s so bad. Sure, I’ve heard songs like “Silver Lining” before, but that’s not to say I don’t completely enjoy this summery, laid-back track. Tunes like “Dejalo” are clearly standouts, what with some Latino influences and Lewis’ oddly sounding Spanish. Or take a listen to “Give A Little Love”, which is just so sugary sweet that you’re going to need some water nearby to wash it all down. Lyrically, Under the Backlight doesn’t suffer either, which makes me wonder why this album hasn’t received the accolades it deserves. Perhaps it’s just that Rilo Kiley is creating songs that are simply less esoteric, or maybe (just maybe!) it’s that their widening appeal is turning off the original fans. Well I’ve got a question for all the naysayers: how can can you listen to an album when your heads are stuck in the sand?

Take my word and get yourself a copy of Under The Backlight.
Not sure? Listen to “Give A Little Love” (4.6/5)
Listen to “Dejalo” (4.75/5)

Here’s a look at what’s been burning up the blogosphere over the past few days:

1. Devendra Banhart - Seahorse
Indie rock’s oddest prodigy has released a single “Seahorse” that begins with Banhart’s soft murmurings and then gradually develops into a fantastic piano driven track that is worth the 8 minutes in length.

2. Rogue Wave - Lake Michigan
Lucy in the Sky with Diamonds meets Wilco’s Jeff Tweedy.

3. Hard-Fi - Suburban Knights
Can the sophomore effort match the band’s debut success? We’ll see.

4. Imperial - Shim-Sham
Who says summer is over?

It sounds monumental, and maybe even a little pretentious, for Idahoan Josh Ritter to title an album The Historical Conquests of Josh Ritter. Who is he to claim such a rich past with his first major record label release? Well, in Ritter’s defense, this is his fourth studio album, and he just may be one of the great songwriters of our time. Mixing one part Dylan, another part Springsteen, and throwing in a big dose of his own country-folk charm, Ritter has created a masterpiece with his latest release.

Some songwriters define themselves by their lyrical content, others by their musical accompaniment, and still others through an impeccably distinctive voice. The individual that can meld all three of these is a rare species, and I would venture to say that Ritter is one of them. He effortlessly moves from slow ballads about heartache to string and horn-infused rock arrangements about his own insecurities. All this he pulls off with a air of confidence and a folksy pomp that makes you think that he’s that guy who’s the baddest dude in town with a heart of gold.

On the opening track, “To the Dogs of Whoever”, Ritter pays homage to an American icon, doig his best Springsteen impersonation. He then ventures into a piano-driven rock ditty “Mind’s Eye” that can best be described as insanely catchy. He slides into “Right Moves” with violins blazing and horns ready to attack. As the album starts to catch, a darker jazzy rock “Rumors” comes on that also makes good use of some wind instrumentation. But on “Next to the Last Romantic”, Ritter shows he can step back and laugh at himself as well. Ritter saves his best for next-to-last, though. On “Empty Hearts”, he seems most comfortable. He opens with a beautiful stringed riff, and soon enters into a chorus of “Don’t let me in to this year with an empty heart” that will have you singing along in no time.

It’s really Ritter’s ability to be but also appeal to the everyman that grants him such success in his songwriting. On The Historical Conquests.., Ritter ends up revering those who have come before him but also paving a way for new songwriters to join a rare collection of folks who have been blessed like him. As he polishes his own skills, he reveals his own influences from the past; in truth, his album title couldn’t be more fitting.

GO AND BUY The Historical Conquests of Josh Ritter.
Listen to “Empty Heart” (5/5)
Listen to “Rumors” (4.7/5)

It is becoming increasingly apparent to me that Australia is now becoming the new Sweden of the indie scene (no offense my fair Swedes), churning out one after another of intriguing, unique folk and rock acts (see Jet, Sia, New Buffalo, The John Butler Trio, Bernard Fanning, etc.). Well don’t believe what your mother tells you (or the name of the band), because eclectic rockers Architecture in Helsinki are really from down under. Combining the strange creative energies of a Devendra Banhart, the instrumentation of a Sufjan Stevens, and the vocals of a falsettoed Queen (?), Architecture in Helsinki delivers oddly beautiful pop arrangements on their new album Places Like This that will have you tapping those feet of yours in a hurry. Admittedly, I find some of AIH’s music a tad too esoteric to fully enjoy but I happen to enjoy them most when I just buy into their silliness. Songs like “Debbie” and “Red Turned White”, infused with funky synths and intoxicating horns, are just straight up fun, while tracks like “The Same Old Innocence” present a more serious rock tone that explores into a chorus of “Way-ohs”, ACDC style. The bottom line is that AIH can rock and have fun doing it, but they’ve got to be careful of not scaring off their listeners in the process. But as far as I’m concerned, bring it on.

You can purchase AIH’s Places Like This here.
Listen to “Debbie” (5/5)
Listen to “The Same Old Innocence” (4.5/5) (courtesy to rocksellout.com)

Behind every budding indie rock band is an equally fresh tagline that gets borrowed and modified by bloggers, album reviewers, and concert promoters. Vampire Weekend’s goes something like this: Ivy-league trio delivers lo-fi pop-rock tunes, tinged with African beats and summertime guitar hooks. However you mold the tagline, Vampire Weekend are pretty accessible to all but the snobbiest of music fans.

Going by the small amount of recorded material that’s available, Vampire Weekend don’t seem to have settled on “a sound”–something that is working in their favor. “Oxford Comma” is a light-hearted, breezy pop song with tasteful guitar playing and smooth vocals. “Walcott” sounds like a raw New England anthem, combined with some New York rockability and classical orchestrating.

Listen to “Oxford Comma” (4.2/5)
Listen to “Walcott” (4/5)

“Oxford Comma” appear on a three-song ep that can be purchased on itunes.

If you thought the wait was eternal, well think again my friends! Everyone’s favorite Argentinian-Swede is returning with his sophomore effort In Our Nature on September 25th. But if that is just too long (it is for me), here are two singles off the album that are sure to whet your appetite.

Go and pre-order In Our Nature.
Listen to “Killing for Love” (4.9/5)
Listen to “Down the Line” (4.5/5)

Sandwiched between a burgeoning NYC band, takka takka, and mediocre English rockers, The Cribs, White Rabbits delivered the best block of live music I’ve seen all summer. Polished and percussive, the Rabbits opened with “Kid on my Shoulders” without a hint of timidness. The rest of the set unfolded with the same amount of New York urgency and style. Sounding like The Walkmen on crack, the rhythm section (including special guests) made their presence felt, delivering a clean, powerful calypso rock beat going for the entire set. The band was tight and the vocals were strong all around, as the White Rabbits played several songs off their debut album along with two new songs and a Bob Dylan cover.

It’s not an impossible venture to create moving, booty shakin’ indie power pop, but it is certainly no easy task. What The Rapture did with Pieces of the People We Love was an extraordinary accomplishment in some ways, in that they were able to put out a record that was both accessible to a large audience but was still edgy, interesting, and fun.

So how the hell does this relate to the New Young Pony Club? Well, in short, their debut release Fantastic Playroom (US release Aug. 28, UK release July 2) doesn’t quite succeed in being accessible or edgy. Save for a few songs, much of the album is just humdrum new wave that lacks a punch, that lacks a real attitude. And isn’t that what they’re supposed to be all about? To be fair, there are one or two fantastic tracks that show great promise for this young quintet. “Grey” is a classic party anthem that will surely please its listeners with its simple but quirky lyrics. But perhaps the best single is “The Get Go”, which features a great vocal set and also the best bassline on the album.

If you’re interested in NYPC, go buy Fantastic Playroom.
Listen to “The Get Go” (4.75/5)
Listen to “Grey” (4.6/5)