Nothing makes me more upset than when someone claims to enjoy “everything”, but can’t enjoy the simple things in music. I mean, pop and radio rock is the least challenging form of music to listen to. I understand there are many acts that are pretty bad (Nickelback, Finger Eleven), but claim bands that garner a large amount of success or airplay as not worth listening to is the prime example of pretentiousness. 2013 is nearing the end of it’s spectacular run, and it’s coming down to crunch time when picks are made, and time and time again my most listened too seem to be everyone else’s as well. It goes to show the popularity of an artist.
Now as I type this, I have a certain sound in my head when I think of constant radio airplay. It’s one of three categories. First is the club bangers, think big name rap artist featured on some pop stars track. Second category is the new, popular indie artist that everyone pretends they only like, (Mumford and Sons, The 1975, Capital Cities), and my final category is the tried and true rock. Since the 70′s, rock has been the only form of popular music that still receives radio airplay, even if it has fluctuated throughout the years. Different Days is a Montreal based band that grows from that popularized rock sound we all know. Strong, steady drumming, prideful vocals, and the one of a kind guitar tone. Oddly enough, throwing on the EP I received from them the first thing I thought was, “Is this PJ Harvey in 2000?”. It’s a spot-on comparison I’ve been told, and I guarantee if you listen to “A Place Called Home” and compare it to the band’s “Inconspicuous”, you’ll agree.
The group takes pride in their self-sufficient way of doing things. Having multi-talented members who can design artwork, master albums, and brag about a degree in classical production(?), they seem to have everything set. “Different Days” is not only the closer to the same-titled EP, it IS the epitome of their whole band. Feedback that salutes Sonic Youth, incredibly strong fills, and even the opening finger picking foreshadows the ultimate climax. There are so many different sounds on one EP. There’s a heavy metal sound, followed by a top 40 rock vibe, but it doesn’t feel forced with the exception of the opener, “Breathless”. It came across as tinny and lifeless. The upside is that the vocals are incredibly catchy, so it would be a different experience live.
Different Days is a band with a bright future. From PJ Harvey to Bikini Kill, the band knows their roots. They pick and choose only the most engaging parts from each artist to combine it into one unique, colorful blend of music. Different Days EP is a solid showcase into what the group has to offer. When experience and experimenting comes, they should be a band that brings a lot to the table for record labels. I guarantee them as the next indie sweethearts. Listen to “Static” and attempt to put a frown on, which is only acceptable when headbanging.
Listen to the entire EP below, and download!
Be to check out their facebook page here
Let’s take a moment and review some of the antics this group has caused in the past year and a half. They single handily won over an entire audience with The Money Store, which received worldly acclaim, and then gave the middle finger to the same record company by releasing No Love Deep Web without their permission. Remember the Sharpie covered penis? Yes, that was Death Grips. Following this, they began a massive tour, which they cancelled before to release No Love Deep Web, and then ultimately cancelled the SAME tour again. They didn’t even bother to show up to the Lollapalooza after show either, which received a lot of coverage as well. Now the hardcore hip-hop group released a new album, titled Government Plates, to the surprise of everyone in the music community. Coming across as a logical progression to No Love Deep Web, it combines the sound of the prior with the structure of the universally acclaimed The Money Store.
Now I’m a Death Grips fan. There’s no denying that I enjoy their music, but I went off for a few months without hearing a single song. It may have been the overkill with The Money Store, or the fact that I wish No Love Deep Web sounded like the previous album. It felt like getting back with an ex when I started the stream of the new album. From the beginning of Government Plates, I realized the group was back in business. The album opens with the horribly titled, “you might think he loves you for your money but i know what he really loves you for its your brand new leopard skin pillbox hat”. Yes, that is the title, and it’s all lowercase. The first noise on the entire album is a crash of something glass, and then follows the high pitched ringing that echoes the massive bass hits that seem to be a reoccurring theme on the album. It’s arguably the best song on Government Plates, and the worst title in music history.
Follows this is “Anne Bonny”, which is a great throwback to The Money Store. What this album does so well is it sets itself apart from any Death Grips album by being plain odd. There’s a lot more of MC Rides screaming, and the electronics on every song come across as extremely eerie, but dance-able. “Two Heavens” opens with a rotating synth chord, but then a double bass break comes in with a distorted voice. It’s something I can headbang too, but also sit in the dark and squirm until it’s over. Flatlander, the noise specialist in Death Grips, really steps it up for this album. He doesn’t try anything particularly new, but every track contains an immense amount of bass this time around so I can’t complain.
Zach Hill as well lets loose for this album. He’s pretty much given the OK to try anything, and that can be seen on “This Is Violence Now (Dont get me wrong)”. Over top the preset drum machine, Hill’s chaotic drum fills are fixated to the song like a metal-heads dream. Listening to Government Plates gave me a whole new perspective of the man’s talent, and reading that he was self-taught woes me every-time. It does make sense though, because he plays like he’s feeling the beat with his body, hitting everything in sight, but it does work well. He overplays, but in only the best way possible.
Now the overplaying can be tied into the reason for the free release. It proves that Death Grips aren’t in it for the business, but for the sake of a creative outlet. I don’t know any other ventures Flatlander and MC Ride are in, but Zach has had a resume full of past bands ranging from Boredoms to Hella to Wavves. The group seems to be a release from the world around them, and them allowing us to experience it seems to be a hard thing for them to do. MC Ride does hold back on this album, but he allows the other two members to stand out. His highlight does come in with “Birds”, which has some of the groups most cryptic and eerie lyrics possible. “I’ve got a black hat/ It might live,” is bad enough to pass up, but with the minimalist mess that surrounds it adds enough of an effect to show that lines like these have an effect.
Government Plates is the oddest release yet by Death Grips. The whole idea of them releasing a brand new album for free makes me wonder what their intentions are. Just to note how far they’ve came, when they released this album on their own website, it crashed within 30 seconds. I wouldn’t be surprised if they meant for that to happen, or they meant for the insane buzz that surrounded their no-show at Lollapalooza. What Government Plates shows us is an honest look at what Death Grips wants to do. They want to let loose, they want to have fun, and they don’t give a fuck. If people call Miley Cyrus “punk”, just wait until they know about Death Grips.
How much music is released on a daily basis? Let me rephrase that question; how much music do we miss out on a daily basis? Take a look at any Soundcloud, Bandcamp, or Facebook music page and that will put into perspective about the amount of potentially great tunes we forfeit by staying safe with our collection. I received a link recently with a caption titled, “Prod. by MF Doom”. It doesn’t matter what else was written, because I either thought this was a joke, or a surprise, but I assumed the first option. Readying my ears for embarrassment, I opened the link to a well made Bandcamp page that brightened my assumption of this ‘MF Doom’ track.
Attached was colorful images of bikini clad women and.. a cassette recorder? It was like I found deep web 10 years ago. My first thought before pressing play was another vaporwave track that’s covered by a solid layout, but I listened further and was pleased with the opening beat. Reminiscing an old feature flash game combined with DJ Shadow in his prime, “Foreshadow” was relatively fresh. I still didn’t know what to expect with the track, but I figured out the MF Doom label as soon as the instrumental broke into a replica beat. I assume the rapper is Dez Harley, who comes in pretty heavily once the new beat takes shape. I was sort of confused with the mixture of genres, but it began to make sense as the songs progressed. Dez Harley has a unique flow to him. He’s not out there like Danny Brown, but the guy has lungs of steel. I didn’t bother researching more about the artist, because the mysteriousness only added to my experience with this track. Apologies go out if I miss the mark completely.
He takes an enormous chunk of the song laying lyrics after lyrics praising his success and hard-work. It’s convincing enough to keep me captivated. After Harley takes a breath, the instrumental flows back into a vaporwave section filled with blips and bloops that just scream Twin Peaks and NWA. It’s nostalgia to my ears. At just over 3 minutes, Dez Harley takes a stab at the massively full hip-hop pool with a unique sound that stood out among the list of forgotten rappers. I would classify his style into a slacker-rap (Ironically his flow is extremely talented) with a heavy vaporwave influence. On the outside, this combination is doomed, but thanks to chances taken by people like Dez, I can recieve exciting new tracks like “Foreshadow”.
From the beginning of “Side A”, it’s obvious that Danny Brown has changed. Since his 2011 release, XXX, Danny has reached some major ups and downs. His unique character of being Detroit’s King Pin in rap has been hidden by the fact that he isn’t a usual player in the modern rap game. Compared to fellow Detroit-ee, Big Sean, Danny resembles someone who has just escaped a psych ward. His gap-toothed, psychotic smile was a clear influence for the infamous Miley Cyrus tongue flair that she seems to flaunt at every opportunity. From an outsiders view, Danny Brown is the devil of hip-hop today.
Old doesn’t play out like XXX. From the beginning, Danny raps about how people keep asking to change back to his older style, but in reality, Danny isn’t interested in it. He wants to keep the ball rolling and stay on top of his game. The idea does make sense; why play safe in a genre where playing safe creates losers. Danny isn’t about staying within the realms of his peers. He’s outlandish, crude, original, and honest, but his approach to compacting all these different ideas strays from traditional values in rap. While XXX presented a wild and dirty side to Danny, he’s taken more of an aggressive and louder approach on Old.
He’s lucky enough to have the likes of Freddie Gibbs, Schoolboy Q, Charli XCX, A$AP Rocky, and surprisingly Purity Ring make appearances on this album. The Purity Ring feature was the most shocking, considering that they pretty much take over the track and make it a Danny Brown feature (“25 Bucks”). Old does impress with production. He still wants the raw sound to be forefront, but his music does have a trap influence this time around. Lyrically, Danny is all about reacting to the fame. He’s struggled with handling money, attention, and the whole celebrity life, and it’s clearer than ever on Old. “Clean Up” talks about how he feels guilty for spending money on clothes, because he’s fall victim to consumerism. It’s a great perspective from someone who generally give a detailed description of his drug and sex life.
Danny doesn’t waste anytime here. All 19 songs are concise, and to the point. The features feel useful, with the exception of Charli XCX, who’s contribution could have been done by any female vocalist. I won’t lie, her name does give the song that extra push for the ‘wow’ factor. These tracks flow generally well, minus “25 Bucks”, which includes the unique Purity Ring sound. You can imagine how the sleek production contrasts a lot of the typical Danny Brown production. Old does show the influence of Danny Brown in the industry. Being able to have that all-star lineup of features goes to show how far he’s come since XXX.
The second half (“Side B [Dope Song]” onward) is all party based, trap songs that actually stand out very well. They’re very enjoyable, but I can only take so much of Danny’s crude yelps. Old closes very well with “Float On”, which like most of the album, discusses the hardships of growing up in Detroit’s Linwood area. From food-stamps to crack cocaine, he’s seen it all. The disturbing imagery feels very real on his lyrics. He’s an underrated lyricist who knows how to really engage the listener on an album. Old provides better diversity than XXX, and feels like it’s the next logical step in his hopeful and fast-growing career. He’s on top of his game so far, but I wonder how much potential he has before he hits a wall. Right now, it’s better to dwell on a very solid album that deserves the respect of many.
The folk revival is stronger than ever, and it’s fitting that musicians can release music with ease considering social media is only growing. It’s quite ironic to hear something so condensed and close knit be released on this massive universe of the web. Folk music always has a sense of community whenever I listen to it. The personal experiences related to the themes of the songs grasp my attention in such a way, it’s hard to imagine that millions of others can feel the same way with a click of a button. Gladly I can say that Alea Rae isn’t at the million listener mark, but her music should be.
From my hometown of Vancouver, BC, I came into contact with Rae with her debut EP, Offerings. The 4 song, 13 minute long EP covers a lot of ground, but also holds true to the emotional side of folk music. From the beginning of “An Honest Man”, Rae harmonizes with the melody of the guitar, leading into a smooth roll of the drums that vaguely reminisces a band I’ve been really enjoying lately named Typhoon. The instrumentation on this track contrasts the close-hearted opening with a string section that builds until the ultimate climax. Very calming, accessible, and a solid opener for this record. “Teal” takes a different direction, as it’s not as uplifting, but more accepting. The song is raw, real, and fitting to the experiences we have compared to a happy-go-lucky track.
Rae, who’s radical voice is an abstract mix of folk Karen O and Veronica Falls, shines through these cherished songs. Her ability to start in a deep, almost spoken-word croon that grows into a swooning melody is comparable to Marcus Mumford, who I’m not a huge fan of but it’s one of the few things that I enjoy from his music. “Offerings” is a perfect example of Rae’s ability to dynamically shift a song with her voice alone. It’s what makes the song stand out on these tracks. Not to mention the full band provides excitement to the music.
Too many folk musicians can bore listeners with their music. Especially when they begin the long-winded journey of becoming a musician, sometimes a guitar and sad lyrics aren’t enough to capture their future fans. Rae made the right choice in having a backing band grow these ideas into songs. Her lyricism is strong as well, but it’s nothing out of the ordinary. Isolation, distance, longing of home, love, it’s all here in these songs, but “Stunning Silence” proves yet again that instrumentation done right in folk can be a game changer that’s hard to compete with. I’m somebody who pushes musicians to try new things, but Alea Rae does indie-folk a favour with Offerings.
Be sure to check out her bandcamp below and listen to her amazing 4 song EP:
The time has come. I can finally wear my Arcade Fire shirt with pride as they’re now relevant to everyone who’s listened to music past 2007. The Grammy award winners, and indie icons have announced a new single, along with a video that will be dropping on Monday (It fits the 9/9 9PM scheme). Even from the trailer, I’m very excited to see what they do, as the 40 seconds of sound they release is total kick-ass. Relfektor is supposed to drop Octobert 29th, and you can view the trailer below.
In classic NIN fashion, Trent Reznor has shocked fans once again. As the new album, Hesitation Marks, is about to be released, the band released two more songs to BBC Radio One with a very mixed reception. “Everything”, which was released just about a week ago, resembles the popular rock hits of the 90′s, while “Find My Way” is comparable to Reznor’s side project, How To Destroy Angels. I honestly have no clue how these songs will fit together, even knowing the other two tracks released are extremely different as well. I can see this album being extremely polarizing, much like their double LP, The Fragile. Nonetheless, we won’t know until it’s out, but for now be sure to compare the tracks below and enjoy!
Lot’s happened in 2010. Vampire Weekend’s Contra debuted at number one on the Billboard 200, Jay Reatard died at 29, Pavement reunited for a tour, and Arcade Fire shocked the world with the Album Of The Year at the notorious Grammy’s. That was three years ago, and time has flown quickly. 2010 was also the last year No Age released an LP, titled Everything In Between. It’s still one of my favourites to this day, and has stood the test of time. I was absolutely ecstatic when I heard there would be a follow-up earlier this year, but a sudden spark of guilt took over. It seemed impossible for No Age to go for a hat trick with the amazing Nouns, followed by Everything In Between, and now leading up with An Object. The expectations are extremely high for this DIY-experimental punk duo, but they’ve been known for clutching up.
The entire lead up to this release was very promising. The duo wanted to get extremely close to the records heart, and did so by literally making every album by hand. The packaging, at least was made by the band itself, and the only separation between label and band was the actual pressing of the vinyl records. It shows on the music, as a lot of these tracks are stripped and toned down to represent the experimental side of the band. While always forward thinking on past albums, An Object shows a different side of the band. They use noise to lead tracks, like on the slow-cooker closer “Commerce, Comment, Commence”. The album as a whole is off in a way different direction than what I expected. Even the duration is shorter than Nouns, which clocks in at 30 minutes (An Object is 29 minutes).
From the get-go, “No Ground” doesn’t act much differently than any No Age album, and feels less abrasive until the sudden bass riff that rips apart the track in traditional fashion. It’s a very promising sign for the rest of the album. Following that is the album’s best track, “I Won’t Be Your Generator”, which resembles a Rockabilly riff that shifts into a post-punk influenced track. One of the best and most melodic tracks No Age has released to date. The only track that really sounds like older No Age is the next track, “C’mon Stimmung”, which as a whole is super solid. Lot’s of noise, lot’s of aggression, and would fit in nicely with Nouns. That being said, it doesn’t fit the sound scheme of An Object, and sticks out like a sore thumb against the stripped down and close to heart tracks that are found throughout the album. Oddly enough, it’s even the album’s only single. That just proves how out of the box the band is.
It’s difficult to figure out No Age’s intentions through their music, because of their cryptic sound. It’s not diverse, and even experimentation is hard to hear because they never stray away from their usual aggressive playing style. If I wasn’t told that this album would be different from their others, I wouldn’t have caught on in the first few listens. There’s still the smashing punk rock drum beats and mixture of noise and melody, but it’s more behind the scenes. “Running From A-Go Go” has a straightforward post-punk beat, but the melody and hooks are used in such an abstract way that it took intense listening to appreciate the song. Even the cello riff isn’t as catchy as I expected, but No Age are heading in a different direction. They’re expressing their anti-conformity view points through noise in protest. It’s the real reason behind the complexity of the tracks.
Now calling these songs ‘complex’ might dilute the term. What I intend behind to say is that this album isn’t as appealing as past albums, but still fills that No Age niche. I’ll be the first to admit that I was disappointed with what I heard at first. These tracks felt rushed and uninspired besides the first three, and No Age seemed to have hit a wall. As my listening and commitment to the band won me over and I listened more, the meaning behind An Object came to light. This album isn’t “An Object”, but a piece of art. To most, art means ‘self-expression’, and by that meaning, it is impossible to objectify art without knowing the true meaning. An Object is not like other No Age albums. It is a topic of discussion, a hidden gem in their discography in the future, an album that will be forgotten like many others. For now though, it’s filling the whole that No Age fans will appreciate the most, and I can live with that.
There’s always been a twist with progressive music. Whether metal, jazz, rock, or electronic, the term applies to any one of these genres. The word ‘progressive’ is defined by, “Happening or developing gradually or in stages; proceeding step by step.” I literally Googled the word and found the definition, and that’s what came up. It fits like a puzzle piece perfectly into the concept of music, describing the electronic musician, Jon Hopkins goal with his newest album Immunity.
The English producer has already created a name for himself with a Mercury Prize nomination with singer-songwriter King Creosote in 2011 for Diamond Mine. What’s so interesting about Jon Hopkins is his connections to extremely renown artists, but he’s been able to fly under the radar for the past few years. Already working with Brian Eno, Coldplay, and Imogen Heap, Hopkins has been hiding up until the release of Immunity. His mixture of progressive-electronic and dance music is an art form that blends pretentious listeners with douche-bags. With the opening of “We Disappear”, the semi-soft drum loop resembles a take on a Burial beat, but with more of a traditional dance melody. The synthetic atmosphere glides and takes afloat while the loops jolts along with a steady piano riff. In Jon Hopkins fashion, the track only begins to grow before it reaches a tipping point and spills the structure into a mixing pot of noise.
His handle of sound is like a professional athlete scoring a simple goal. It’s only until we try out shooting or catching for the first time do we give credit to those who make a living off of it. These eight tracks aren’t overly complicated, but creating and meshing the ideas together is the talent. Most all of them carry bass-heavy undertones with a diversity of changes that happen so subtly, it’s hard to pick up on one listen. Think post-rock, but add in electronic affects and a dance atmosphere. That’s not even close to what Immunity is, but it gets the idea across that this is a completely different electronic album compared to others released this year. It resembles The Haxan Cloak’s Excavation in terms of song to song growth. The only track that takes away from this comparison is the beautifully destructive, “Abandoned Window”.
If Hopkins’ time with Imogen Heap taught him anything, it’s that simple means subtle. This track contains strictly piano chords and a slight ambient atmosphere in the background. That’s all it takes to create water works, and it’s nailed here on “Abandoned Window”. The lead into “Form By Firelight” carries the same simplicity, but transforms into a chaotic mess of crashing sounds. Distortion, thumbing bass clicks, clean and crisp keys, all these intense and emotional sounds from different genres blend to create a monstrosity of emotion. It’s overwhelming, and a lot to take in. Hopkins’ pulls on your heart a little and it’s just enough to open up the gate to confronting your emotions. Sad, happy, angry, he will humble you and take you for a journey of outlook.
Maybe I’m looking too deeply past the sounds? Immunity could possibly just be a great progressive-dance album, but it’s the situation you’re in while listening. I also know that Hopkins’ has had a habit of creating lasting impressions. Diamond Mine slipped past a lot of listeners back in 2011, but made it’s way to the Mercury Prize the same year. Immunity proved yet again how the English producer can manipulate emotions with music, letting us use it as a separation from our mediocre and eventful lives, because at the end of the day we all deal with the same problems. Possibly different magnitudes of the problem, but the root behind the feelings is the emotion. Hopkins knows that better than anyone.
Stream the full album here: