I’ll admit to being a relative newcomer to their music; I was recently introduced to their previous album Ode to Sunshine (2008) and spent a good few days obsessing over it – tracks like “People C’mon” and “Trashcan” defining their sound for me – different, upbeat, vibrant, but I know this is a band I will be listening to for a long time. History from Below launches into brilliance with the more politically charged “911″(which for the first few seconds sounds very acoustic and reminiscent of something more fitting to Ingrid Michaelson until the drums kick in!) which takes a satirical stance on the current state of the US economy –‘The folks back east, they say the market’s fine/I heard that before 1929’, and singer Matt Vasquez’s voice adds a sense of raw honesty to the lyrics, as with the entire record, which develops into an album with evident character. Up next is “Bushwick Blues”, which suggests that the band have stepped towards a less folk, more rock direction, but it feels natural, not forced, as Vasquez’s individual vocals driving the band’s truly unique sound. After such an energetic start, calming the album down and setting the tone for the next few tracks (“White Table”, “Ransom Man”, “Devil Knows Your Dead”) comes “Salt in the Wound” which seems to be an emotional and eloquent existential crisis. Far from being depressing, this track has become one of my favorites on the album, its conclusion is not one of despair but hope and respite in the beauty of the world – ‘Now with my heart wide open / I listen to the wind just for a word / Sure, I know it’s futile / But that’s all I have in this world’.

For me, one thing that stands out about this album is that it is certainly a mature and varied progression from Ode to Sunshine – it deals with love, spirituality, politics – and the range of sounds and emotions and intensities are broad – from the subdued, folksy “Scarecrow,” diffused with the soft sounds of birds, to the powerful, upbeat “Golden State,” to the eight minute epic story of “Ballad of Vitaly” – probably my favorite track on the album. Yet despite this variation, it remains cohesive, thanks to Vasquez’s consistent vocal style and the skill and adaptation of the other band members. My only criticism (and it’s a super tiny one!) is that part of me feels that History from Below is lacking maybe one more really upbeat, anthemic track, like those defining Ode to Sunshine. It is undeniable that the band has progressed, but subtly – the energy fueling History from Below [...]]]> If it’s a band with the talent to soar from songs full of catchy hooks, powerful vocals, toe-tapping rhythms, dashes of scathing polemic wit and lyrical prowess to soft-spoken, beautiful ballads you’re after, San Diego’s Delta Spirit are the band for you. Their second full length studio album, History from Below was released at the start of June, and certainly does not disappoint.

I’ll admit to being a relative newcomer to their music; I was recently introduced to their previous album Ode to Sunshine (2008) and spent a good few days obsessing over it – tracks like “People C’mon” and “Trashcan” defining their sound for me – different, upbeat, vibrant, but I know this is a band I will be listening to for a long time. History from Below launches into brilliance with the more politically charged “911″(which for the first few seconds sounds very acoustic and reminiscent of something more fitting to Ingrid Michaelson until the drums kick in!) which takes a satirical stance on the current state of the US economy –‘The folks back east, they say the market’s fine/I heard that before 1929’, and singer Matt Vasquez’s voice adds a sense of raw honesty to the lyrics, as with the entire record, which develops into an album with evident character. Up next is “Bushwick Blues”, which suggests that the band have stepped towards a less folk, more rock direction, but it feels natural, not forced, as Vasquez’s individual vocals driving the band’s truly unique sound. After such an energetic start, calming the album down and setting the tone for the next few tracks (“White Table”, “Ransom Man”, “Devil Knows Your Dead”) comes “Salt in the Wound” which seems to be an emotional and eloquent existential crisis. Far from being depressing, this track has become one of my favorites on the album, its conclusion is not one of despair but hope and respite in the beauty of the world – ‘Now with my heart wide open / I listen to the wind just for a word / Sure, I know it’s futile / But that’s all I have in this world’.

For me, one thing that stands out about this album is that it is certainly a mature and varied progression from Ode to Sunshine – it deals with love, spirituality, politics – and the range of sounds and emotions and intensities are broad – from the subdued, folksy “Scarecrow,” diffused with the soft sounds of birds, to the powerful, upbeat “Golden State,” to the eight minute epic story of “Ballad of Vitaly” – probably my favorite track on the album. Yet despite this variation, it remains cohesive, thanks to Vasquez’s consistent vocal style and the skill and adaptation of the other band members. My only criticism (and it’s a super tiny one!) is that part of me feels that History from Below is lacking maybe one more really upbeat, anthemic track, like those defining Ode to Sunshine. It is undeniable that the band has progressed, but subtly – the energy fueling History from Below is more reserved in some aspects than Ode to Sunshine – it is still powerful, but more mature and precise. There is less of the Americana feel that enlivened their debut – it provides more of a cocktail of genres, still retaining the punchy and original sound that Delta Spirit have defined for themselves, but introducing a new depth – really clear in tracks like “Salt in the Wound” and “Ransom Man”. I love History from Below, and I love Delta Spirit.

Atlanta quartet Debutaunts recently emerged from the sweaty, claustrophobic venues of the underground rock scene triumphantly, with a record deal in their hands. Combining the distinct musical talent of all four members, Debutaunts brought forth a unique album, Why Can’t We Have Fun, that has since exploded the minds of music gurus everywhere.

Partnered with Grammy nominated producer Matt Goldman, Debutaunts created an album that has quickly become an oxymoron of sorts. Why Can’t We Have Fun has successfully broken musical boundaries that are set up solely for cookie cutter bands whose lives revolve around dirty garages and second-hand instrumentalists. Debutaunts have nearly done the impossible by meshing the sounds of psychedelic 60s rock with today’s alternative rock genre. Every song is golden on their album, and every song has a new and different sound that everyone is sure to fall in love with.

Debutaunts‘ new album is a unique collection of songs that have skewed the lines between progressive rock and pop music, while throwing electric beats into the mix. It’s almost as if they took every type of music that each band member loved, threw it into a mixing bowl and then layered it onto one full length album. The result is a unique sound that Debutauts can call their own, a new genre of music that pairs together the wonderful hippie-like tunes of the 60s and the new age music of today. Throwing together these genres have made gold for Debutaunts. With songs so catchy they should be illegal, Debutaunts have crashed into the music scene and are sure to stay around for a long time. Their album is a truly magical production with its electric effects and alternative rock lyrics. Debutaunts have created an album with an indie feel that still sounds like electric club music that [...]]]>

Debutaunts‘ new album is a unique collection of songs that have skewed the lines between progressive rock and pop music, while throwing electric beats into the mix. It’s almost as if they took every type of music that each band member loved, threw it into a mixing bowl and then layered it onto one full length album. The result is a unique sound that Debutauts can call their own, a new genre of music that pairs together the wonderful hippie-like tunes of the 60s and the new age music of today. Throwing together these genres have made gold for Debutaunts. With songs so catchy they should be illegal, Debutaunts have crashed into the music scene and are sure to stay around for a long time. Their album is a truly magical production with its electric effects and alternative rock lyrics. Debutaunts have created an album with an indie feel that still sounds like electric club music that everyone loves.

The second track, “Wormwood”, instantly starts off with the American skateboarder riff so classically associated with Blink-182. Toward the climax of the song, the music breaks down into a steady head banging beat. It invokes visions of khaki short clad girls with California stringy hair, moving their hips in time with the mosh pit.

The intro of “Blue Pills and Whiskey” seduces you into believing that this is a sort of heartfelt vulnerable tone for Campaign, but alas, the rug is pulled from under one’s feet yet again. The heavy yelling guitar muffles your screams but still the taste of the intro remains within the explosion.”Blue Pills and Whiskey”, if anything, is the killer of the EP. It grabs and holds you, somehow tossing you without letting you go.

While Campaign certainly have established something very loud and boisterous with It Likes To Party, it seems that they are afraid to emerge from the shadow of their punk rock predecessors. More original and fresh material is needed to further band development and establish a notable style. Right now, innovation with this band is hard to determine – but there is plenty of room, and plenty of time, [...]]]> Atlanta’s Campaign has arrived onto the scene with an EP that, at first bite, attacks you with no preparation. No rising sounds, no gentle intros, no beguilement. Just a full on seizure of wrists and into the pit for a tumultuous ride. Track one of the EP is “Rock Bottom Summer”, a threatening powerhouse of an introductory that sets you up on an adrenaline rush. The ominous drum beat stands poised and ready for attack, provoking the listener to thrash along with this thunder-beat.

The second track, “Wormwood”, instantly starts off with the American skateboarder riff so classically associated with Blink-182. Toward the climax of the song, the music breaks down into a steady head banging beat. It invokes visions of khaki short clad girls with California stringy hair, moving their hips in time with the mosh pit.

The intro of “Blue Pills and Whiskey” seduces you into believing that this is a sort of heartfelt vulnerable tone for Campaign, but alas, the rug is pulled from under one’s feet yet again. The heavy yelling guitar muffles your screams but still the taste of the intro remains within the explosion.”Blue Pills and Whiskey”, if anything, is the killer of the EP. It grabs and holds you, somehow tossing you without letting you go.

While Campaign certainly have established something very loud and boisterous with It Likes To Party, it seems that they are afraid to emerge from the shadow of their punk rock predecessors. More original and fresh material is needed to further band development and establish a notable style. Right now, innovation with this band is hard to determine – but there is plenty of room, and plenty of time, for improvement.

I know this review will probably sound schizophrenic, but I can’t help it. I’m divided. I also know this is Positivexposure, and I’ll get to the positivity, I promise, but on the one hand, I have to be honest. With Omni, I feel that the band have morphed into a more generic direction – rather than taking the opportunity to refine their individuality and take a more unique step, Omni is kind of faceless – at one point I really began to doubt if I’d bought the right record. You kinda wonder if they’ve moved to L.A. They seem to have dialled up the synths and turned down the emotion – and the result is a record I don’t find particularly honest or deep, with lyrics about sweat dripping down thighs (“My Time”), a girl fixing her lipstick and a guy fixing his belt (“Into The Mirror”), and morally suspect seduction (“Fooled by the Night”). Sure, Planet of Ice had some pretty raunchy lyrics, but gone is the strain of sadness that colored lead singer Jake Snider’s voice, and gone is the intensity of tracks like “Double Vision Quest” and “Lotus”‘ and in its place is something overproduced and cheapened with pop punk seduction. I’m not asking this record to deal with hardcore political issues or anything, but songs about copulation, well, have been done before. A lot. With synths. I just don’t think anything new is being brought to the table here. And hey, one heartfelt song wouldn’t hurt now, would it? May I suggest something in a minor key?

And yet, here’s the other side of the coin. Maybe listening to songs with supposed ‘deep emotional meaning’ has clouded my ears with pretentiousness and I’m just looking at it wrong. Because, ignoring Planet of Ice, as a stand alone, ‘plug your iPod in at a party’ record, Omni is great. It’s enjoyable and energetic. It’s summery and catchy, and songs like “My Time” and “Summer Angel” are definitely ‘play on repeat-ers’. I love “Animal Backwards” with its hypnotic repeating of ‘She is a wolf looking through my window’ (but I can’t help thinking it’d sound better acoustic!) Omni is uplifting and has a party vibe with kicks of attitude and cheek. Yeah, it’s pretty simplistic and makes me wonder if the lead singer has a sex addiction, but it’s fun. And hey, I like synths. I don’t really like echoing vocals or songs that stick on one questionable subject, but on one level I do like Omni. Unfortunately, it’s  just a pretty shallow, slightly guilty level. It’s fun. I’ll admit that. No problemo. But here’s the deal breaker: is it enough for an album just to be ‘fun’? For me, not really. I think that Minus the Bear need to [...]]]> Seattle’s Minus the Bear are back with the follow up album to 2007’s Planet of Ice with Omni, a record that, despite its uber catchy melodies, I’m in two minds about. To put it totally bluntly: I just don’t get it.

I know this review will probably sound schizophrenic, but I can’t help it. I’m divided. I also know this is Positivexposure, and I’ll get to the positivity, I promise, but on the one hand, I have to be honest. With Omni, I feel that the band have morphed into a more generic direction – rather than taking the opportunity to refine their individuality and take a more unique step, Omni is kind of faceless – at one point I really began to doubt if I’d bought the right record. You kinda wonder if they’ve moved to L.A. They seem to have dialled up the synths and turned down the emotion – and the result is a record I don’t find particularly honest or deep, with lyrics about sweat dripping down thighs (“My Time”), a girl fixing her lipstick and a guy fixing his belt (“Into The Mirror”), and morally suspect seduction (“Fooled by the Night”). Sure, Planet of Ice had some pretty raunchy lyrics, but gone is the strain of sadness that colored lead singer Jake Snider’s voice, and gone is the intensity of tracks like “Double Vision Quest” and “Lotus”‘ and in its place is something overproduced and cheapened with pop punk seduction. I’m not asking this record to deal with hardcore political issues or anything, but songs about copulation, well, have been done before. A lot. With synths. I just don’t think anything new is being brought to the table here. And hey, one heartfelt song wouldn’t hurt now, would it? May I suggest something in a minor key?

And yet, here’s the other side of the coin. Maybe listening to songs with supposed ‘deep emotional meaning’ has clouded my ears with pretentiousness and I’m just looking at it wrong. Because, ignoring Planet of Ice, as a stand alone, ‘plug your iPod in at a party’ record, Omni is great. It’s enjoyable and energetic. It’s summery and catchy, and songs like “My Time” and “Summer Angel” are definitely ‘play on repeat-ers’. I love “Animal Backwards” with its hypnotic repeating of ‘She is a wolf looking through my window’ (but I can’t help thinking it’d sound better acoustic!) Omni is uplifting and has a party vibe with kicks of attitude and cheek. Yeah, it’s pretty simplistic and makes me wonder if the lead singer has a sex addiction, but it’s fun. And hey, I like synths. I don’t really like echoing vocals or songs that stick on one questionable subject, but on one level I do like Omni. Unfortunately, it’s  just a pretty shallow, slightly guilty level. It’s fun. I’ll admit that. No problemo. But here’s the deal breaker: is it enough for an album just to be ‘fun’? For me, not really. I think that Minus the Bear need to pause all the sex (or stop boasting about it) and have a nice, inspirational emotional breakdown. They’re from Seattle, after all.

If you’re a fan of Harvard, you should already know some things about Jesse Clasen. To name a few, he has an incredible voice and knows how to use it, he plays piano, and occasionally, he will play some horns. What Firewood immediately teaches us is that Jesse had a hidden talent up his sleeve. Sure, he played acoustic guitar on The Inevitable and I, but the guitar on Firewood is much more intricate and it draws you into the song immediately, catching your interest and allowing Clasen to do, well…all the other things he does really well. Don’t come here looking for the pounding drums, groovy bass lines, or dizzying guitars that can be found when listening to Harvard. Just sit back and introduce yourself to the truly one of a kind talent that is The Bear Romantic.

The album starts with “Stay Mine,” an amazing first track that opens with white noise that continues through the whole song.  The acoustic guitar keeps the sense of beat while filling the silence between Clasen’s ethereal wails, and when coupled with the white noise, creates a very somber mood. I’m used to hearing his beautiful high register, but a whole different side of Jesse emerges through The Bear Romantic, and he gets to show off his equally beautiful low register. The very low, repeated notes and the sound of creaking metal add to the dark mood and make it feel like something is pressing on my chest.  Although there is only one line in the entire song, there is never a boring moment. When the last note on guitar is hit, I literally breathe a sigh of relief as the weight on my chest is lifted. It’s a very powerful opening track.

Helping you recover from the mood created by “Stay Mine” is “Farmers,” a much more upbeat, but not any less dark, track. The repetitive lyrics and simplistic backing are hypnotic, and just conjure up this really dark and mysterious visual. The song definitely does have a dark aspect – “you can’t protest, you can’t move” – the song is directly addressed to the listener, who ‘better be watching the road’. It’s a beautiful warning, that’s enthralling and unnerving at the same time.

Up next is “Kings,” which keeps the upbeat guitar going. “Kings” is the heaviest use of drums on the album this far in, although most of the song is acoustic. Delayed and layered vocals and a little bit of backmasking add so much to this song, creating such a beautiful melody.

“Desantes” slows things down a bit, but from the opening guitar, even if it’s so mellow that I had to actively pay attention to it, I was hooked. It immediately grabbed my attention and never really let it go. “Kill me, I’m worth killing. Use me, I’m worth using. Forget me, I’m worth forgetting. Kiss me, I’m worth kissing.” The lyrics are lovely and the vocal melody is haunting and incredibly vulnerable sounding, the oohs and aahs between the chorus [...]]]>

If you’re a fan of Harvard, you should already know some things about Jesse Clasen. To name a few, he has an incredible voice and knows how to use it, he plays piano, and occasionally, he will play some horns. What Firewood immediately teaches us is that Jesse had a hidden talent up his sleeve. Sure, he played acoustic guitar on The Inevitable and I, but the guitar on Firewood is much more intricate and it draws you into the song immediately, catching your interest and allowing Clasen to do, well…all the other things he does really well. Don’t come here looking for the pounding drums, groovy bass lines, or dizzying guitars that can be found when listening to Harvard. Just sit back and introduce yourself to the truly one of a kind talent that is The Bear Romantic.

The album starts with “Stay Mine,” an amazing first track that opens with white noise that continues through the whole song.  The acoustic guitar keeps the sense of beat while filling the silence between Clasen’s ethereal wails, and when coupled with the white noise, creates a very somber mood. I’m used to hearing his beautiful high register, but a whole different side of Jesse emerges through The Bear Romantic, and he gets to show off his equally beautiful low register. The very low, repeated notes and the sound of creaking metal add to the dark mood and make it feel like something is pressing on my chest.  Although there is only one line in the entire song, there is never a boring moment. When the last note on guitar is hit, I literally breathe a sigh of relief as the weight on my chest is lifted. It’s a very powerful opening track.

Helping you recover from the mood created by “Stay Mine” is “Farmers,” a much more upbeat, but not any less dark, track. The repetitive lyrics and simplistic backing are hypnotic, and just conjure up this really dark and mysterious visual. The song definitely does have a dark aspect – “you can’t protest, you can’t move” – the song is directly addressed to the listener, who ‘better be watching the road’. It’s a beautiful warning, that’s enthralling and unnerving at the same time.

Up next is “Kings,” which keeps the upbeat guitar going. “Kings” is the heaviest use of drums on the album this far in, although most of the song is acoustic. Delayed and layered vocals and a little bit of backmasking add so much to this song, creating such a beautiful melody.

“Desantes” slows things down a bit, but from the opening guitar, even if it’s so mellow that I had to actively pay attention to it, I was hooked. It immediately grabbed my attention and never really let it go. “Kill me, I’m worth killing. Use me, I’m worth using. Forget me, I’m worth forgetting. Kiss me, I’m worth kissing.” The lyrics are lovely and the vocal melody is haunting and incredibly vulnerable sounding, the oohs and aahs between the chorus and verse bringing back the feeling from “Stay Mine.” If there is one singer I’ve heard who truly knows how to use their voice as an instrument, it is Jesse Clasen. The soft oohs, aahs, and layered vocals show another dimension of Clasen’s voice that we never hear in Harvard. “Desantes” is one of the most beautiful songs I’ve ever had the pleasure of hearing.

Track five, “The Shed,” definitely had to grow on me, but it quickly became one of my favorites on the album. It’s got kind of a harsh, jarring guitar, but the slight vibrato at the ends of Jesse’s vocals just make this song fun to listen to. “The Shed” features some of the most obviously disturbing lyrics on the album…lyrics that caught my attention, making me listen to it and allowing it to grow on me. “I’m lying in bed with my best friend. Check if he’s dead.” It’s quite chilling that it ends on that lyric.

The heaviest use of piano on the album, “Point of View” creates another dark mood, due to its low, almost discordant notes. For some reason, the second verse sounds slightly heavier and darker than the first verse, and I prefer the sound of the second verse. I love the haunting oohs and ahhs over the verses. The kalimba echoing the piano is just eerie sounding. The extremely low ending note is chilling, resonating in your bones.

“Yellow” begins with beautifully haunting oohs and aahs, immediately drawing me into the song. The deep vocals on the line, “are you jealous often?” make it stick in my head for a long time after each listen. The horns during the bridge create a sense of mourning and the vocal harmonies are tinted with longing. The lyrics are some of the most straight forward and easy to relate to on the album.

“Sparrows” combines acoustic guitar and piano to create a fuller sound, though still very stripped down and organic feeling. There is a very pretty piano part toward the end that brings up slow motion images of waves crashing into cliffs on a secluded beach somewhere. It’s the perfect mix of lovely and dark, something that the entire album is very good example of.

“The End” brings us to, well, the end. The more I listen to this song the more I love it. Even if you weren’t looking at the track listing you would just know that this would bring the album to a close. This is probably the most vulnerable song on the album…there is nowhere to hide. It’s just Jesse’s soft vocals over a very quiet guitar that barely fills the silence behind him. “He’s in your nightmares. He holds the future in his hands. He kills for pleasure.” “He sets fire to your bones.” Despite having the darkest lyrics on the album, “The End” manages to keep a very inspirational tone with its beautiful vocal melody.

Firewood is an amazing first album, and I certainly hope it’s the first of many. It’s refreshing, unique, and packed with more talent that you can find in most bands, and The Bear Romantic is just one guy. Firewood is completely different from Harvard’s material, which was a really nice surprise. It shows that Clasen is a very talented and versatile musician who will hopefully create lots of new material in the future. I will be eagerly awaiting new music from Jesse Clasen, whether it’s from The Bear Romantic, Harvard, or another project, but until then, Firewood will be on repeat.

The opening to Stegosaur’s Adventure 7″ sounds out as a welcoming conversation starter, a casual greeting to you, the listener on the other side. Jerid Reed Morris, the man behind the vocals, speaks to you of picking the attention of record executives and as you feel part of the conversation, it’s surely hard to wonder how this foursome could evade the kingpin dream-makers of the recording industry.

From first impressions alone, Adventure is a charming creature. The wailing energy of “A Headache”, after the steady intro, chimes familiarly toward that of The Strokes’ Albert Hammond Jr.’s solo work. The bubbling beat makes for perfect body thrashing material. Then “Big Breath”, the soundtrack for a crackling city pavement on a steaming summer’s evening, earns major props for both Jerid Reed Morris and Jose Clement Rodriguez who work flawlessly on the prickling guitar sound that explodes into angst at the middle peak of the song. Anyone who can identify with the longing freedom of M83′s “Don’t Save Us From The Flames” has found the yang to that yin in “Big Breath”.

Finally, the closer, and my personal favorite track, which is called “Bloooooood”, invokes hand clapping rhythms and the Rhodes piano fixture from Mr. Jose Clement Rodriguez throw in the way of Rilo Kiley but an originative edge of cool comes oozing past a barrier of supposals as the layered vocal talent of a ragamuffin choir strike upon the notes. The song slows into a slightly melancholic cry in spite of all the brightness, so you, the captured listener, feel as if you are being pulled with force down a candy rollercoaster of potential terror. It’s up, it’s down, backwards and forwards, but always fresh and never boring.

The only and perhaps the biggest problem with the Adventure 7″ is that closing with a track like “Bloooooood” leaves the listener restless and aching for more. Perhaps this is a method of the band, to keep us hungry and begging for a full, luscious album of chirpy hat tricks.

Stegosaur are the kind of band that are absolutely bursting with potential for massive expansion. For world domination, or domination of the hearts of many. The entire spectrum of their possibility must be explored, recorded, and rushed to record stores as soon as possible. Then, the fun [...]]]>

The opening to Stegosaur’s Adventure 7″ sounds out as a welcoming conversation starter, a casual greeting to you, the listener on the other side. Jerid Reed Morris, the man behind the vocals, speaks to you of picking the attention of record executives and as you feel part of the conversation, it’s surely hard to wonder how this foursome could evade the kingpin dream-makers of the recording industry.

From first impressions alone, Adventure is a charming creature. The wailing energy of “A Headache”, after the steady intro, chimes familiarly toward that of The Strokes’ Albert Hammond Jr.’s solo work. The bubbling beat makes for perfect body thrashing material. Then “Big Breath”, the soundtrack for a crackling city pavement on a steaming summer’s evening, earns major props for both Jerid Reed Morris and Jose Clement Rodriguez who work flawlessly on the prickling guitar sound that explodes into angst at the middle peak of the song. Anyone who can identify with the longing freedom of M83′s “Don’t Save Us From The Flames” has found the yang to that yin in “Big Breath”.

Finally, the closer, and my personal favorite track, which is called “Bloooooood”, invokes hand clapping rhythms and the Rhodes piano fixture from Mr. Jose Clement Rodriguez throw in the way of Rilo Kiley but an originative edge of cool comes oozing past a barrier of supposals as the layered vocal talent of a ragamuffin choir strike upon the notes. The song slows into a slightly melancholic cry in spite of all the brightness, so you, the captured listener, feel as if you are being pulled with force down a candy rollercoaster of potential terror. It’s up, it’s down, backwards and forwards, but always fresh and never boring.

The only and perhaps the biggest problem with the Adventure 7″ is that closing with a track like “Bloooooood” leaves the listener restless and aching for more. Perhaps this is a method of the band, to keep us hungry and begging for a full, luscious album of chirpy hat tricks.

Stegosaur are the kind of band that are absolutely bursting with potential for massive expansion. For world domination, or domination of the hearts of many. The entire spectrum of their possibility must be explored, recorded, and rushed to record stores as soon as possible. Then, the fun will ensue.

Mountain Man start their unique debut album, Made the Harbor, by asking you to ‘follow, follow follow’ and indeed, the voices of Amelia Meath, Molly Sarle, and Alex Sauser-Monnig, like the three sirens of Greek mythology, seem to grab you by the hand and lure you into their ethereal, beautiful world; their songs seduce and enchant you.

When listening, there was nothing to do but lie in silence, to be active felt as if I was doing the music a great disservice, and by the third track, I was utterly enthralled and in love. Like waves, Made the Harbor washes over your mind and pulls you to its depths.

Each track is short and perfectly sweet – the longest being 4:09 – and balances angelically harmonic and defined vocals with the background twangs of an acoustic guitar. Turned up loud, your ears can even make out the soft crackle of white noise which only adds to the natural, analog feel of the record, (often tracks are preceded with echoing speech or soft laughter) recorded in “two large rooms in Bennington Vermont.” Lyrics are varied and poetic, they range from stories to love songs, and the result is a haunting medley of music that feels as if it has echoed through the centuries to finally be recorded; they are shadows from the past, given volume, complexity and depth.

The record even features one cover, collected from the dusty archives of history and given new life- ‘How’m I doin’’ by the Mills Brothers, originally released in 1932. The way the three voices work together, like intertwined threads that stretch through the tracks, woven into harmonies and words produces a fabric of the most exquisite beauty.

The band has apparently only been performing since the Spring of 2009, and this album is a colossal achievement and testimony to their musical talent [...]]]>

Mountain Man start their unique debut album, Made the Harbor, by asking you to ‘follow, follow follow’ and indeed, the voices of Amelia Meath, Molly Sarle, and Alex Sauser-Monnig, like the three sirens of Greek mythology, seem to grab you by the hand and lure you into their ethereal, beautiful world; their songs seduce and enchant you.

When listening, there was nothing to do but lie in silence, to be active felt as if I was doing the music a great disservice, and by the third track, I was utterly enthralled and in love. Like waves, Made the Harbor washes over your mind and pulls you to its depths.

Each track is short and perfectly sweet – the longest being 4:09 – and balances angelically harmonic and defined vocals with the background twangs of an acoustic guitar. Turned up loud, your ears can even make out the soft crackle of white noise which only adds to the natural, analog feel of the record, (often tracks are preceded with echoing speech or soft laughter) recorded in “two large rooms in Bennington Vermont.” Lyrics are varied and poetic, they range from stories to love songs, and the result is a haunting medley of music that feels as if it has echoed through the centuries to finally be recorded; they are shadows from the past, given volume, complexity and depth.

The record even features one cover, collected from the dusty archives of history and given new life- ‘How’m I doin’’ by the Mills Brothers, originally released in 1932. The way the three voices work together, like intertwined threads that stretch through the tracks, woven into harmonies and words produces a fabric of the most exquisite beauty.

The band has apparently only been performing since the Spring of 2009, and this album is a colossal achievement and testimony to their musical talent and compatibility.

I’ve noticed a lot in recent times that there’s been an interest within many genres to bring back the lost sounds of a certain era and apply them in a new way. The sound, or at least interpretation, of psychedelic rock has only really found one or two embodiments to show its power in current music. MGMT is one of these bands, who took their already wonderful pop/synth/rock sound, and applied a layer of psych to it on their sophomore album Congratulations. The second band, which has far less exposure, is Tame Impala.

The band hails from Perth, Australia and released their self titled studio EP back in 2008. When I first got a hold of it, after it floated around the internet for a few months, I was both excited and wary of their sound. On one hand, I was really glad to see that psychedelic rock was getting some representation in modern music (this is before Congratulations,) but I was also concerned that they might simply be on  some sort of nostalgia kick, just some band that would borrow the usual psych hooks and themes and simply apply them to their sound. After tracking back through most psych rock that I knew, I found that yes, it certainly did connect with the usual sounds found in previous psych rock bands, but it really went the extra mile in being an embodiment of a sound they certainly have placed their own spin on. There’s certainly all of those sounds you would find on pervious psych rock records, but there’s things there that you would only ever really hear today, like some break-neck drumming, and synths that twist through tracks like it’s nobody’s business. One thing that really jumped out at me about the EP was the style in which it was recorded. This is where the band has really strived to keep a 60s sound for their music. To put it plainly, that record seemed to have been recorded in a cardboard box, and it not only complimented the music, but I can imagine the music actually being worse if it didn’t use the intriguing recording style that it did. On Innerspeaker there’s a far crisper sound, but it doesn’t take away from the sound, and their tone is maintained.

There’s plenty of purely improvised soloing, and the band plays off one another perfectly. It seems like they’re a wonderful combination, and when they break away from the song structure on many tracks is when some really great stuff happens. Some fantastic guitar tones come in different flavors and riffs, but they all come from that era of rock, which really shows their consistency. The vocals aren’t very varied through a lot of the songs, but it doesn’t seem to be too much of an issue. The reverb placed over the frontman’s voice only compliments the music, and it’s easy to find yourself humming along to the music. The ghostly nature of the vocals and even the instruments themselves really [...]]]>

I’ve noticed a lot in recent times that there’s been an interest within many genres to bring back the lost sounds of a certain era and apply them in a new way. The sound, or at least interpretation, of psychedelic rock has only really found one or two embodiments to show its power in current music. MGMT is one of these bands, who took their already wonderful pop/synth/rock sound, and applied a layer of psych to it on their sophomore album Congratulations. The second band, which has far less exposure, is Tame Impala.

The band hails from Perth, Australia and released their self titled studio EP back in 2008. When I first got a hold of it, after it floated around the internet for a few months, I was both excited and wary of their sound. On one hand, I was really glad to see that psychedelic rock was getting some representation in modern music (this is before Congratulations,) but I was also concerned that they might simply be on  some sort of nostalgia kick, just some band that would borrow the usual psych hooks and themes and simply apply them to their sound. After tracking back through most psych rock that I knew, I found that yes, it certainly did connect with the usual sounds found in previous psych rock bands, but it really went the extra mile in being an embodiment of a sound they certainly have placed their own spin on. There’s certainly all of those sounds you would find on pervious psych rock records, but there’s things there that you would only ever really hear today, like some break-neck drumming, and synths that twist through tracks like it’s nobody’s business. One thing that really jumped out at me about the EP was the style in which it was recorded. This is where the band has really strived to keep a 60s sound for their music. To put it plainly, that record seemed to have been recorded in a cardboard box, and it not only complimented the music, but I can imagine the music actually being worse if it didn’t use the intriguing recording style that it did. On Innerspeaker there’s a far crisper sound, but it doesn’t take away from the sound, and their tone is maintained.

There’s plenty of purely improvised soloing, and the band plays off one another perfectly. It seems like they’re a wonderful combination, and when they break away from the song structure on many tracks is when some really great stuff happens. Some fantastic guitar tones come in different flavors and riffs, but they all come from that era of rock, which really shows their consistency. The vocals aren’t very varied through a lot of the songs, but it doesn’t seem to be too much of an issue. The reverb placed over the frontman’s voice only compliments the music, and it’s easy to find yourself humming along to the music. The ghostly nature of the vocals and even the instruments themselves really make the music envelope itself around you, so it certainly helps to listen to it on some big speakers, or bassy headphones.
One thing that really really impresses me about the album on the whole is the massive, funky, infectious bass guitar that runs through many of the tracks. It brings a whole new layer of funk to the record, and it just makes the whole psychedelic sound even more accessible and enjoyable.

Basically, what I’m trying to say here is, you need to listen to this record. If you miss the days of The Seeds, The Doors, The Byrds then Tame Impala’s Innerspeaker is certainly something you want to be pumping through your headphones or speakers very soon. Pick it up, have a listen, be amazed. This is Tame Impala.

I have been following Parades for quite some time, always amazed by their releases. Finally, after months of waiting, their debut album Foreign Tapes has been released and it does not disappoint. The Sydney sextet has gone through many incarnations, changing names and styles left and right, with the final result being a fresh new approach to music and a stellar debut album. Foreign Tapes is what I would describe as being post math rock, having quiet ambient build ups and jolty textbook math rock movements much to the likes of Foals. In short, Parades has produced a standout album which is a tremendous display of Australian innovation and creativity, reaffirming Australian music as some of the best in the world.

Dead Nationale The opening track demonstrates the fusion between the technicality of the guitar work and the ambient echoes in the background. The groove is great throughout the song and the dual male/female vocal melodies are extremely sweet and give the track a very laid back feel until it bursts into an innovative punk riff which brings us to the climax of the track, before more ambience and a hint of electronic synths fill the speakers until the close.

Hunters I think this is one of those songs that will stand the test of time. It is not the kind of song that you would get sick of listening to after a few plays, but rather a song that is always associated with some of your favorites. The song is beautiful in its soft parts and epic in its harder parts. At the center of the song lies the perfect balance between grandness and beauty, and it’s filled with amazing guitar pieces which affirm at this point in the album that this band means business.

Past Lives The song begins with a really cool worldly beat and then builds to a beautiful acoustic section which is charged with simple yet powerful harmonies. The lyrics also play a key role in making this track sound the way it does, especially in the second acoustic section. I can see this as one of my favorite tracks on the album, as it encapsulates the more experimental worldly elements of Parades music.

Invaders (Review) This is perhaps the most electronic song on the album, mainly focusing on electronic drums and synthesizers to give the ambient feel to the track. The alternating individual vocal parts work well in this song, but when they come together it becomes so much more. The track is really colorful with many different layers to it, and the production is second to none. The album at this point has already displayed it’s diversity having showed us examples of world beat, ambient, electro, punk and post rock elements with the overlaying theme of math rock eminent through the tracks.

Springboarder The slow, “interlude track” sounds like something out of Sigur Rós’ back-catalog, demonstrating once again Parades’ post rock sound. The song brings a close to the first half of the album, leaving us to wonder what other genres and elements [...]]]>

I have been following Parades for quite some time, always amazed by their releases. Finally, after months of waiting, their debut album Foreign Tapes has been released and it does not disappoint. The Sydney sextet has gone through many incarnations, changing names and styles left and right, with the final result being a fresh new approach to music and a stellar debut album. Foreign Tapes is what I would describe as being post math rock, having quiet ambient build ups and jolty textbook math rock movements much to the likes of Foals. In short, Parades has produced a standout album which is a tremendous display of Australian innovation and creativity, reaffirming Australian music as some of the best in the world.

Dead Nationale
The opening track demonstrates the fusion between the technicality of the guitar work and the ambient echoes in the background. The groove is great throughout the song and the dual male/female vocal melodies are extremely sweet and give the track a very laid back feel until it bursts into an innovative punk riff which brings us to the climax of the track, before more ambience and a hint of electronic synths fill the speakers until the close.

Hunters
I think this is one of those songs that will stand the test of time. It is not the kind of song that you would get sick of listening to after a few plays, but rather a song that is always associated with some of your favorites. The song is beautiful in its soft parts and epic in its harder parts. At the center of the song lies the perfect balance between grandness and beauty, and it’s filled with amazing guitar pieces which affirm at this point in the album that this band means business.

Past Lives
The song begins with a really cool worldly beat and then builds to a beautiful acoustic section which is charged with simple yet powerful harmonies. The lyrics also play a key role in making this track sound the way it does, especially in the second acoustic section. I can see this as one of my favorite tracks on the album, as it encapsulates the more experimental worldly elements of Parades music.

Invaders (Review)
This is perhaps the most electronic song on the album, mainly focusing on electronic drums and synthesizers to give the ambient feel to the track. The alternating individual vocal parts work well in this song, but when they come together it becomes so much more. The track is really colorful with many different layers to it, and the production is second to none. The album at this point has already displayed it’s diversity having showed us examples of world beat, ambient, electro, punk and post rock elements with the overlaying theme of math rock eminent through the tracks.

Springboarder
The slow, “interlude track” sounds like something out of Sigur Rós’ back-catalog, demonstrating once again Parades’ post rock sound. The song brings a close to the first half of the album, leaving us to wonder what other genres and elements will be explored in the second half.

Lung Full Of Light
An off-beat grand piano and the gorgeous voice of Freya Berkhout are the basis for this unorthodox ballad which is again something fresh and genre bending on this already diverse album. This is without a doubt the most gorgeous song on the album, purely because of its amazing lyrics, moving piano progressions and a hauntingly beautiful voice.

Loserspeak In New Tongue
The true example of Parades’ experimental side, “Loserspeak In New Tongue” has an extremely odd vocal melody and time signature. The track is in a sense like a Picasso painting, it doesn’t seem to be in proportion or fit, and yet it comes together into a very memorable piece of art. How you choose to interpret it is up to you.

Tripping Over Your Eyes
“Tripping Over Your Eyes” is a soft and appropriate track for this time in the album. The well-executed “interlude” track is well positioned between the most experimental and progressive song, “Loserspeak In New Tongue,” and the longest track on the album, “Marigold,” which clocks up at about six and a half minutes long. The track welcomes back the grand piano, but this time we are approached with the male vocals which are just as beautiful as the female counterpart featured in “Lung Full Of Light”.

Marigold
The opening of this six and a half minute epic slowly layers different instruments on top of one another and builds up to a grand introduction to the vocal section. The song can be considered the most poppy song on the album, yet Parades doesn’t compromise their sound to produce a crappy piece of pop rubbish. They take the good things about pop music and make it their own to deliver to us a new and catchy summer anthem.

Vulturehood
I don’t know why but for some reason this song reminds me of some of MGMT’s more acoustic sounding work. The song grows and grows until we are brought back to earth for the album to fade out yet remain in our heads; this basic yet powerful song brings this magnificent effort from Parades to a close.

This album is a triumph from beginning to end and will definitely be a contender for one of the best albums of the year. The problem is that no one really knows about it, which is why I chose to review it. Hopefully Positivexposure will do what it is intended to do and reward this hardworking band by sharing their amazing efforts with the world and give this truly brilliant album the respect it deserves.

Best Track: Hunters

The latest piece of electro-dance goodness from James Murphy, the brains behind LCD Soundsystem, is This Is Happening, the last release under the name that has seen him release two other albums,  LCD SoundSystem and the wonderful Sound Of Silver.

Dance Yrself Clean “Dance Yrself Clean”, the opening track of the album, is a interesting listen.  It begins with the group of band members along with Murphy singing together against a simple drum beat, with bits of synth coming in and out as they progress. Just when you think that the whole track will proceed like this, the current beat is joined by an incredibly funky synth dance piece, accompanied by Murphy’s signature wailing vocals. It’s a good track, but at 8:58, it can certainly drag on.

Drunk Girls Probably my favorite song off the album so far, “Drunk Girls” has everything you would expect from a great LCD track. Fun lyrics which have a casual message that everyone who’s partied before will understand, plenty of chances to sing along and clap your hands, plus some great, light hearted synth playing along in the background. A simple structure leads throughout the song so it’s good fun to listen to and something that will get plenty of cheers if it starts playing at a party.

One Touch A nice groove is one way to describe this song. Much like “Drunk Girls”, this is the kind of track you can dance to. The wonderfully layered synth and infectious beat really makes this a good listen, but the lack of anything that is definitively LCD can make this a bit of an easy song to forget.

All I Want Another wonderful track, “All I Want” combines a nice  repeated progression of piano and drums with an awesome wailing guitar track. One thing I’ve noticed about most LCD songs is their repetition, punctured only by a few parts that actually change things up. This, in most cases, would be a bad thing, but the pure enjoyable nature of many of the songs, Murphy’s voice, and lyrics, can create songs that don’t really require structure in themselves, and this is certainly evident in “All I Want.”

I Can Change The bassy, chilled out tone in most parts of this track makes it an easy listen, and the addition of the high pitched synth during choruses shakes it up enough to make it an enjoyable listen. Murphy seems to have gone the extra mile on his vocals and lyrics during this track too, as they’re certainly a highlight.

You Wanted A Hit “You Wanted A Hit” begins feeling like a vortex of synth, darting and flashing about all together. Once drums and guitars come in, the synth fades away to leave a beat with a real feeling of purpose. I don’t know what gives me that feeling, it just feels like it’s on a mission. Once the lyrics kick in and you get a feel as to what Murphy is really trying to say, it becomes more and more apparent that this song is either a message [...]]]>

The latest piece of electro-dance goodness from James Murphy, the brains behind LCD Soundsystem, is This Is Happening, the last release under the name that has seen him release two other albums,  LCD SoundSystem and the wonderful Sound Of Silver.

Dance Yrself Clean
“Dance Yrself Clean”, the opening track of the album, is a interesting listen.  It begins with the group of band members along with Murphy singing together against a simple drum beat, with bits of synth coming in and out as they progress. Just when you think that the whole track will proceed like this, the current beat is joined by an incredibly funky synth dance piece, accompanied by Murphy’s signature wailing vocals. It’s a good track, but at 8:58, it can certainly drag on.

Drunk Girls
Probably my favorite song off the album so far, “Drunk Girls” has everything you would expect from a great LCD track. Fun lyrics which have a casual message that everyone who’s partied before will understand, plenty of chances to sing along and clap your hands, plus some great, light hearted synth playing along in the background. A simple structure leads throughout the song so it’s good fun to listen to and something that will get plenty of cheers if it starts playing at a party.

One Touch
A nice groove is one way to describe this song. Much like “Drunk Girls”, this is the kind of track you can dance to. The wonderfully layered synth and infectious beat really makes this a good listen, but the lack of anything that is definitively LCD can make this a bit of an easy song to forget.

All I Want
Another wonderful track, “All I Want” combines a nice  repeated progression of piano and drums with an awesome wailing guitar track. One thing I’ve noticed about most LCD songs is their repetition, punctured only by a few parts that actually change things up. This, in most cases, would be a bad thing, but the pure enjoyable nature of many of the songs, Murphy’s voice, and lyrics, can create songs that don’t really require structure in themselves, and this is certainly evident in “All I Want.”

I Can Change
The bassy, chilled out tone in most parts of this track makes it an easy listen, and the addition of the high pitched synth during choruses shakes it up enough to make it an enjoyable listen. Murphy seems to have gone the extra mile on his vocals and lyrics during this track too, as they’re certainly a highlight.

You Wanted A Hit
“You Wanted A Hit” begins feeling like a vortex of synth, darting and flashing about all together. Once drums and guitars come in, the synth fades away to leave a beat with a real feeling of purpose. I don’t know what gives me that feeling, it just feels like it’s on a mission. Once the lyrics kick in and you get a feel as to what Murphy is really trying to say, it becomes more and more apparent that this song is either a message to someone or to a group of people about not always listening to what other people want.

Pow Pow
Probably the strangest track on the album, “Pow Pow” has a complete lack of structure in its lyrics, and bongos abound around the whole song. It’s certainly weird, and I can’t see everyone liking it. But it’s certainly an interesting track to listen to.

Somebody’s Calling Me
Beginning with a slow progression of piano, echoing clapping, and quiet vocals, and ending with basically the exact same thing, “Somebody’s Calling Me” is probably the worst song on the album. It lacks that energy that comes with most LCD tracks, so it cannot support its repetition, and the irritating explosions of synth don’t seem to serve any purpose but too annoy.

Home
Starting out with an undeniably catchy mixture of of low-key synth, some sporadic guitar strings, and some nice high-hat play, “Home” just becomes more and more layered as it progresses, bringing in vocals, horn sounding synth, and some incredibly funky bass. It’s probably one of the best tracks besides “Drunk Girls” and is a great way to finish off the album.

This Is Happening is certainly a good way for Murphy to say goodbye to LCD SoundSystem, but I do feel as though it is a little bit unpolished. There’s no song that will be remembered for a time to come other than Drunk Girls and even that might only be a pop track to be forgotten in a few months. Other than a few issues with irritating or somewhat boring songs, This Is Happening is definitely a good listen and something that fans should enjoy.