Bon Iver may be done for a little while, but between popping up on hip-hop albums big (Yeezus, My Beautiful Dark Twisted Fantasy, Watch The Throne) and small (P.O.S.’s We Don’t Even Live Here), playing with his band The Shouting Matches, and collaborating with The Blind Boys of Alabama, Justin Vernon hasn’t exactly been quiet. Nevertheless, the announcement of another album from Volcano Choir, a collaboration with post-rock band Collections of Colonies of Bees, was a bit of a surprise. Their 2009 album Unmap was a solid collection of abstractions with the occasional killer song (“Island, IS”, if you haven’t heard it, is still awesome), but it was a bit unstructured (and quite strange for my tastes). However, it seems to have been an important project for Vernon. Just look at the world of difference between For Emma and Bon Iver, Bon Iver: all the layered, more complex instrumentation. The odder, instrumentally complex, direction of Volcano Choir definitely had a hand in influencing that album’s left-turn from the dude-in-a-cabin scrappiness that defined his debut. On Repave, however, it’s Bon Iver that is influencing Volcano Choir.
Like many of you (or at least those who don’t have their ear to the ground in the Vancouver indie scene), my first exposure to The Belle Game came from indie-rock kingmakers Pitchfork, who named their single “River” as a Best New Track earlier this summer. They were right, but to call this band “new” isn’t entirely correct. After amassing much acclaim in Vancouver with two EPs over the course of four years, debut album Ritual Tradition Habit is a chance to cement The Belle Game as a new player in indie-rock (and another chance to prove the good ol’ Pitchfork effect). While it doesn’t quite follow through on the promise of that aforementioned revelation of a track, The Belle Game’s familiar sound lends itself to a solid debut.
I’m a Modest Mouse fan–more or less old news, for those who know me–and my recent fixation has been a revolving cycle of classic Modest Mouse songs: “Night on the Sun,” “Here It Comes,” “King Rat,” “All Night Diner”. Except these aren’t classics. In fact, they’re relatively forgotten because none of them is featured on a single LP. Nor is the National’s excellent “Sin-Eaters,”, nor Interpol’s darkly seductive “Specialist,” nor The Decemberists’ 18-minute epic “The Tain.” These are songs that too few people have, because they were relegated to the lowly EP.
In an era in which music is increasingly consumed by either buying single tracks on iTunes or shelling out $25 for an album on vinyl, the half-length EP is often forgotten.
It shouldn’t be. [Read more...]
A solo artist since the 90s and a core member of the Canadian supergroup The New Pornographers, Neko Case has worn many hats throughout her career. But while her output has always been strong, her last release—2009’s “Middle Cyclone”—didn’t do much to push the envelope of Case’s sound, and it seemed as though we might’ve seen all she had to offer. Fortunately, 20 years into her career, Case has crafted her most innovative and engaging album yet.