Andorra - Caribou (2007)

Caribou is the stage name of Canadian musician and mathematician, Dan Snaith. Originally known as Manitoba, Snaith’s first album Start Breaking My Heart was an electronic and ambient venture influenced by Boards of Canada and Aphex Twin. Snaith then moved to psychedelic and folk soundscapes in both his Up in Flames and The Milk of Human Kindness LPs, which lead to his style of music being labelled as ‘folktronica’. Over time, Snaith also became more confident in utilising his voice, which has become more prominent over each release. I believe Andorra is almost a departure from folktronica, as Snaith has produced more orchestrated conventional songs, while being highly reminiscent of 60’s sunshine pop and psychedelia.  

The album begins suddenly with ‘Melody Day’, a flurry of percussion, vibrant guitars and Snaith’s falsetto vocals. Although the song seems chaotic, it comes together through colourful pop style melodies, which may be a reference the song’s title. The chorus is uplifting, as Caribou triumphantly exclaims something indistinguishable that sounds like “beaches!” as psychedelic drums and guitars swirl around him. Following this exhilarating track is ‘Sandy’. It opens with rhythmic drums, a subtle baseline and flourishing sleigh bells and flutes. The verses are dreamy as Snaith’s high-pitched harmonies fluctuate and intertwine in a very similar way to The Beach Boys or The Zombies: “Now I’m divided like a flock that flies when it's sighted, and picture circles in the sky. You can believe me like all of the others who leave me and vivid shapes across the eye. The things around us and the shadows they left as they found us, are running fingers through your hair”. There is a change of tempo as the chorus becomes evocative of something from Sgt. Pepper’s with a marching-band style. This song is such a precise vision of the 60’s; it’s almost hard to believe it was made in 2007.

The third track ‘After Hours’ is a blissful six minute trip. Snaith’s voice is slightly more subdued. However, the layered harmonies are disorientating, the guitars are echoed and the drums are boisterous. This song reminds me of the kind of progressive drumming used on the Tango Mango album by Can. ‘She’s the One’ opens with back-up vocals, “doo-doos” which are constant throughout the song. This put me off the song initially. However, this track is one of the few songs that are concentrated on vocals and lyrics rather than instrumentation. Snaith croons this love-song, singing about being so infatuated with a girl that he can’t see how bad she is for him: “Then she's gone and my friends can come along and they tell me that I'm happier. One more fight, yeah, you tell me all the time have you lost all of my pride? But she's the one”. ‘Desiree’ is another vocally focused tune, which evolves into an orchestrated and symphonic baroque pop song. The chorus is an stirring climax of flutes, violins, bass and piano as Caribou harmonises. Then the record takes a psychedelic rock turn. ‘Eli’ begins with a fuzzed-out guitar riff and hypnotic drumming, as Snaith murmurs, “when she opens her eyes she says she feels better. Now she’s falling apart and it’s all in her mind”. As well as writing lyrics inspired by love, Caribou seems to be a fan of writing enigmatic lyrical content for his songs. In line with other songs on Andorra, the musical style changes from verse to chorus on ‘Eli’, moving from psychedelic rock to sunshine pop.

The seventh song is ‘Sundailing’. This is definitely my favorite track on Andorra. It creates a more ambient journey in comparison to other songs, with subdued layered guitar chords and a continuous 4/4 drum beat. Caribou’s murmurs and croons are manipulated with reverb, making it difficult fully understand the lyrics: “Of pictures and of voices, an arrow drawn in time that's pointing to me standing here with your words on my mind… And every night I dream of you while lying in my bed and ever since I was a boy keeps running through my head… And when we meet my mind is making promises of you and when you go, I know you know it breaks my heart in two”. Along with an emotive instrumental build-up of flutes and drums, the song conjures feelings of remembering and longing for someone. Honestly, listening to this song has caused me to choke-up at times. It’s just beautiful. I believe that the last two songs are the only folktronica tracks on the record. ‘Irene’ slowly fades in and out with woozy synths and electronic beats. The last song ‘Niobe’ begins with minimal dance vibes and glistening electronica, then progresses into an experimental swell of synths, dance-floor rhythms and percussion arrangements, with Caribou’s vocalisations scattered throughout. Altogether, Andorra feels like a celebration of life and a declaration of love, a blissful nostalgic 60’s throwback, including innovative experimentation. An amazing album.          

(III) - Crystal Castles (2012)

The album cover for the new Crystal Castles LP is a photograph taken by Samuel Aranda, depicting a woman cradling her son after he was exposed to tear-gas during a street demonstration in Sanaa, Yemen. Leading up to the release of the album, Crystal Castle’s vocalist Alice Glass, remarked, "I didn't think I could lose faith in humanity any more than I already had, but after witnessing some things, it feels like the world is a dystopia where victims don't get justice and corruption prevails.”  

Crystal Castles is a duo consisting of Ethan Kath who composes and produces the electronic tunes, and Alice Glass provides vocals and lyrics, both hailing from Toronto, Canada. I remember when I first heard about Crystal Castles; they were featured playing their first single ‘Alice Practice’ on an episode of the UK TV show, Skins. At first, I found the music too abrasive and disjointed paired with Alice Glass’ barking vocals. Nonetheless, their debut self-titled album was released in 2008. Then after hearing songs like 'Reckless' and 'Air War', I was converted to a Crystal Castles fan. Kath utilised novelty Gameboy 8-bit chip tunes and chopped up vocal samples over buoyant electronic beats on their first record. The duo’s second album, Crystal Castles (II), moved towards dance and noise electronica, with less Gameboy sounds and more diverse, moody and dense songs. This LP contained the band’s most popular single yet, ‘Baptism’, a club-ready tune with an extremely catchy distorted synth hook and pounding beat.

         

I was really excited when I learned that Crystal Castles were releasing a third LP. Apart from ‘Alice Practice’ and ‘Doe Deer’, I've enjoyed most other songs by the band. I was even more overwhelmed when I heard the first single and opening track ‘Plague’. It opens with atmospheric buzzy synths, while Alice sings the verse softly. The chorus is a menacing, dense wall of droning and pulsating electronica with a quarter note kick drum beat. Alice shouts, “I am the Plague” and her vocals are then distorted to match the danceable noise. After hearing this song, I knew I would love the whole record, considering the witch house influences, electronic laptop sorcery and its eerie aura. The lyrics in ‘Plague’ are in line with Alice Glass’ current perspective; “Infants in infantry, rewrite their history. Uproot their colony. You’re ripe for harvesting”. I believe she is referring to the civil wars in Africa where children are taken from parents by resistance troops are forced to kill. The next track, ‘Kerosene’, uses a hip-hop percussion structure, with menacing a background drone and high-pitched chopped up vocals. Alice’s voice is clearer than usual in this track as she sings “Light of God, dimming weak. Nothing’s wrong go back to sleep. Lend them comfort for sorrow. I can clean impurity. Wash away with Kerosene”… “I’ll protect you from all the things I’ve seen”. This is suggestive of government cover ups, while also echoing the cover photo of a mother protecting her children. ‘Wrath of God’ is fine example of how Crystal Castles can create songs that are simultaneously abrasive and irresistible. It is another pumping dark and noisy dance track with some 8-bit bleeps and an awesome build-up. Everything slows down when the song ‘Affection’ begins. Alice’s vocals are both tender and ethereal as she almost whispers, “Catch a moth hold it in my hold in my hand, crush it casually. Without past I can’t disappoint my ancestry. Forever can I sleep inside your menagerie.” I think it’s about realising how much power and responsibilities we have as humans. Followed by the shame we feel when we think about humanity’s continual misdeeds and destructiveness over time.

‘Pale Flesh’ feels ritualistic with a trip-hop influenced beat accompanied by squeaky, sinister synths and Alice’s manipulated vocals: “Adolescent fiancé, I’m just flesh to give away.” The sixth and seventh tracks are less appealing to me. ‘Sad Eyes’ is an industrial darkwave dance tune, where Alice sings, “you can’t disguise sad eyes”, possibly referring to women who’s culture require them to wear a burka, with only their eyes visible to the public. I find that this track doesn't draw me into the song as others do and the melody isn't very creative. ‘Insulin’ is a ferocious and smothering sonic attack on the ears. I think it serves as an experimental break in a mostly pop focused album. The next song ‘Transgender’ is a stand out track for me. It begins with twinkling bleeps, spectral vocalisations and achingly beautiful melodies, then transforms into a skittering dance tune which is simultaneously ethereal and dizzying. ‘Violent Youth’ is the only track reminiscent of anything from the band’s first album. With an high-energy and bouncy rhythm, the vocal distortions make this song particularly disorientating, but eventually it slows down. The second last song ‘Mercenary’ is an ominous electronic ballad with searing synths and hip-hop beats. (III) finishes with an gentle melancholic lullaby called ‘Child I Will Hurt You’. Crystal Castle’s third album is probably their most focused piece yet. I’m also impressed by political and philosophical ideas within the lyrics. Oppression, nihilism and sorrow never sounded so good.        

Chapter VIII - It's Been a While

So I haven't posted on here in a long time. I've decided it’s time to get back into it. The main reason for the lack of entries was that I was studying and didn't have the time or motivation. Well guess what, I finished my degree and I'm really excited to talk about music I love again. In other news, I went on a trip around Europe which was flippin' awesome. Here's some photos from the trip. Royal British Museum, ancient Olympian ruins in Elis, Greece, Ian Curtis's grave and somewhere in Germany.

In terms of this blog, I will be posting more album reviews. They won't always be new releases, just stuff I really like. My taste in music has evolved since my last entry. I've been mystified by new found genres including shoegaze, garage rock, witch house, dream pop, post-punk, chillwave and a plethora of other electronic music. I'm not sure if I should be writing less in the up-coming reviews. My idea was that in-depth analyses of albums could my niche in the blogosphere. However, I begin to wonder if people have the time or interest for that much reading in a post. We'll see how it goes. Here's a picture of my current favourite albums. I'll probably end up reviewing most of them. Sorry about the text size, you can open it in a new tab or save it and zoom in.

The Crystal Axis - Midnight Juggernauts (2010)

Following their 2007 debut Dystopia, The Midnight Juggernauts have revealed their versatility through the release of The Crystal Axis. The Melbourne band rose to popularity with synth/dance pop songs such as Into the Galaxy and Road to Recovery, sounds that can be compared to Daft Punk or Pnau. However, this album is a complete back flip from Dystopia, taking listeners on a hypnotic space rock trip.

The Crystal Axis starts off with ‘Induco’, a mysterious and foreboding overture. Electronic echoes are then carried into ‘Vital Signs’. Although this is probably the most radio-friendly song, it blends electronica with percussion and woodwind instruments to create a sort of world music, similar to songs on Yeasayer’s Odd Blood. The myriad of sounds and mellow vocals is a somewhat psychedelic beginning to the album. ‘Lifeblood Flow’ is a triumphant pop song, full of catchy hooks and soaring keyboards: “Chase the light, let your lifeblood flow. Who cares where the road will land. Forge on before it’s gone forever. Hold on until we’re born again.” ‘This New Technology’ is driven by electronic hooks layered over repetitive drumming and the song can become tiresome. The Midnight Juggernauts then demonstrate their skills in progressive rock with the fifth and sixth tracks. ‘Lara Verses the Savage Pack’ is groovy and danceable, with unruly percussion and psychedelic guitar riffs. Towards the end, the song build up to a sonic freak-out, layered with choirs and intensifying electronica.

‘The Great Beyond’ begins with eerie keyboards and echoed vocalisations; “Into the great beyond, before hysteria starts. Into the great beyond, before the world around us all falls apart.” Then progressive and menacing guitar riffs lead into and instrumental jam. This is definitely a stand out track. It is clear to see that the juggernauts have attempted tone down their earlier dizzy sounding electronica by emphasizing rock instrumentation and restricting the synth. This is evident in ‘Winds of Fortune’, a flurry of harmonising and funk driven guitars with a possible Beach Boys influence. Yet the trio are able conjure faraway lands and cosmic atmospheres through spacey electronics with ease. ‘Dynasty’ incorporates theatrical organs and narrative in the lyrics to produce a science fiction epic in itself. Eventually we reach the album closer ‘Fade to Red’. The song is hypnotising and haunting. Spiraling keyboards and electronic clicks move like waves as double tracked vocals croon “This is the final goodbye”.On The Crystal Axis, Midnight Juggernauts move away from electro pop and towards a more refined sound space rock sound, expanding their musical horizons and their fan base.

Bliss Release - Cloud Control (2010)

Bliss Release - Cloud Control (2010) In three words: Pastoral, Carefree, Spiritual

I am very grateful that my friend introduced me to this band. After listening to the first track on the record, I knew they were going to be one of my favourites. Cloud Control is an Australian band hailing from the Blue Mountains in Sydney. So it is not surprising that this band creates indie folk music which sounds organic, ethereal and is full of dreamy harmonies. The quartet consists of Heidi Lenffer on keys and vocals and brother Ulrich on drums, plus Jeremy Kelshaw on bass and guitarist and singer Alister Wright. Bliss Release is Cloud Control’s first full length album, which has received many auspicious praises from music critiques. This acclaim is warranted, as Cloud Control has produced a fresh sounding album and successfully blended several different genres across Bliss Release, without sounding obscure or directionless.

Bliss Release beings with 'Meditation Song #2 (Why, Oh Why)'. A suspenseful buzz leads to a soul acoustic chord while Alister and Heidi’s voices almost echo “Make my head a pool of water now.” Soon after a soaring harmony, the unique chorus bursts into the song, as they chant “Why, oh why” over chord progressions, distorted guitar riffs, drones, rhythm claps and tambourines. Cloud Control blends these elements together which somehow produces harmony instead of chaos. The combined rock and folk sounds are dreamy yet powerful, with surreal lyrics; “Peer into the centre of my soul. Find all the things I need to make me whole.” As an opener, 'Meditation Song #2' provides listeners with an almost psychedelic introduction to Bliss Release.

Then straight after the ending fuzz of the first track comes clear and shimmering electric guitar progressions with more boy/girl melodies. 'There’s Nothing In The Water We Can’t Fight' is upbeat and optimistic with references to Hinduism: “Mother Ganga take me higher. You wake up, you're on fire.”
After moving the album to a more eerie tone with 'Ghost Story', 'Gold Canary' wakes the listener up with Alister’s powerful voice and thumping afrobeats. The song is also centered around “nah-nah” chants and “whoops” while tambourines and hand-claps invoke a whimsical atmosphere. It is a great single which successfully broad casted Cloud Control to the Australian indie scene.

The next track, 'This Is What I Said', is bouncy and carefree as Alister asks "can you feel the tangible chill in the air? Is it here? Is it there?" A falsetto chorus and quirky bass and electric guitar chords also contribute to the general playfulness of the song. Then 'Just For Now' opens with modest acoustic strumming and bitter-sweet lyrics: "Twenty years on a steady slope, I'm all out of rope." It's a standard folk track until tribal drums liven it up.

Eventually, 'My Fear #2' kicks off with an ascending electric guitar and a jaunty baseline. This track so up-tempo that is has real dance-ability. To me, 'My Fear #2' displays Cloud Control's musical and lyrical confidence to a tee. Midway through the song, Alister adds a fuzzy guitar distortion and a killer solo, leading into surreal vocalizations from both singers. This song is lively and so enjoyable, it's probably my favorite song on the record.

The closing track is called 'Beast Of Love' and exhibits Lenffer as the vocal lead. Her voice is distant and soothing as she croons "love is foolish, yet we're fine. Waiting for the beast of love to smile." Slowly, complicated melodies of "you are all I need" are integrated into the song with folkly instrumentals. It's a peaceful and almost romantic end to the album. Bliss Release is a charming collection of songs which can provide a blissful escape from everyday life.

Chapter VII - Society

Basically I just wanted to share this video. It's very similar to my idea of an ideal society. This video is from the RSA's youtube channel. Please find some time to watch it the whole way through. The Royal Society for the encouragement of Arts is an organisation that funds and supports education and aims to enlighten and improve social thinking. This is their website: http://www.thersa.org/home

Hidden – These New Puritans (2010)

Hidden - These New Puritans (2010) In three words: Chaotic, Diverse, Unorthodox
Hidden is the second album from These New Puritans, (often abbreviated as TNPS) a band from Southend in the UK. TNPS consists of Jack Barnett, his twin brother George, Thomas Hein and Sophie Sleigh-Johnson. In 2008 the band released their highly successful debut album, Beat Pyramid. Their sound is heavily beat driven can be described as a mix of indie and art rock. However, in an ambitious step forward, These New Puritans bring classical influences and epic percussion to Hidden. It is almost impossible not to draw comparisons between TNPS and experimental band, Liars. Yet the band's front man, Jack Barnett asserts that These New Puritans are "anti-experimental. I'm into narrative, precision, clarity." In turn, preparation for the creation of Hidden was rigorous. A thirteen piece orchestra including clarinets, alto flutes, bassoons, french horns, trombones and a tuba were squeezed into the studio (the six-foot taiko drums would not fit).
Hidden commences with Time Xone, an instrumental piece. You could easily think that you've accidentally picked up something from the classical section. The track begins with swooning and mournful strings, woodwind, and brass. This piece could serve as music for a funeral or an overture for an orchestra. The fragile music starts to fade and move to the next song, We Want War. This track is unlike anything I have ever heard. It begins with an ominous sense of gathering storm clouds, created through droning horns and bassoons, electronic tremors and desolate drums. Then tribal wood-on-wood clacks and demonic choirs conjure images of a battlefield in my mind. Meanwhile, Barnett's vocals are quiet but distinctive as he mutters, "secret recording were made in the marsh, I bore a hole just to see. Knights dance in molecules, here's Gallahad. They're rising back up, they're rising back up." Overall, We Want War is epic and exhilarating.

The Next track is called Hologram, which acts as a shift in mood. This track, which centres around piano and stomping drums, is prettier and somewhat human. However, the violent and ruthless Attack Music destroys this. Track is very elaborate and hard to describe. It begins with massive drum and crunchy digital beats amidst shattering glass and drawn swords. It literally is attack music, with eerie chants and hallucinogenic coos; "It was September, harmful logic. It was September, this is attack music." There is also an appearance of brass and woodwind instruments which adds to the chaos. After Attack Music comes Fire-Power, which continues the delirium further. This is another heavy drum track. I would say that it's the only song on the record that contains any guitar. Toward the end of the song, the drum beats fade out and the sombre classical arrangements merge in. The sixth track on Hidden, Orion is malevolent and feels ritualistic or pagan. This is created through choirs and mysterious references to astrology; "Hidden exit after Osiris. All the stars are swords, I've never been so sure." The next track, Canticle, provides a soothing orchestral interlude. Further into the album is White Chords, which is mainly electronic beats and cathartic guitars through the chorus. This could possibly be the most comfortable moment on the record.

The album is concluded with an instrumental song called 5. From this song, the mysteries of Hidden subside and you are left to sit there and wonder what just happened. It commences with twinkling xylophones and slowly introduces a flurry of flutes, clarinets and brass. Eventually a children's choir creates an ethereal atmosphere as Jack whispers: "All the tree started to walk and the rivers started to talk, but only through digital manipulation." Then trumpets and tubas slowly groan Hidden to sleep. 5 is a sublime end to the immaginarium that is Hidden.