Tag Archives: Tame Impala

Defending Shoegaze/Dreampop/Synthrock

I recently explored the growing world of streaming music and one thing that I found was that Pandora is the best at recommending new music. I pay for Spotify because I usually know what I want to hear, but when it comes to finding new artists, no one beats Pandora. Pandora’s music genome sounds a bit like a con until you compare it with similar recommendation features of competing streaming services. My beloved Spotify has an absolutely atrocious “radio” mode that winds up playing the same ten songs by roughly the same four to five artists. And usually these so-called recommendations are so oblivious that I’m rarely surprised by anything that gets played when I use this feature. I have access to a premium Pandora account where I work, and on Fridays when no one is around I like to pick an artist I’m currently grooving on and see what new stuff I can find.

Now I’ll freely admit that I’ve always been a sentimental fool. I like quiet, moody songs that are bittersweet. Dream pop. Chillwave. Shoegaze. Whatever you want to call it…I love this kind of music even though I don’t know much about this genre. One of my current favorites is the French pop singer Melody Prochet, who fronts the psychedelic dream pop band Melody’s Echo Chamber. I discovered Melody’s Echo Chamber via label mate Tame Impala, an Australian psychedelic band who kick all kinds of ass. Anyway, I took it upon myself to create a Pandora station based around Melody’s Echo Chamber. What happened? I fell down a rabbit hole of electronic-psychedelic-dream pop that melted my mind and made me fall in love.

One of the great things about myself, if I can take a moment to brag, is my ability to love a lot of different/conflicting things. Like, for example, I really love cock rock. Give me a hard-charging guitar riff and with some semi-sexist lyrics and I’m happy as a pig in shit. The more dunderheaded, the better. But I’m also a sensitive soul that likes to be lulled by a sweet melody and lush wall of quiet noise. This music that Pandora showed me was amazing in that it was both distorted and crystal clear. It was intimate and human, while at the same time adorned with the trappings of modern electronic music. This music was full of synthetic sounds and real emotion. It was like discovering a new color.

The branching spectrum of music Pandora showed me was absolutely breathtaking. It was like having a cool older brother with a kick ass record collection show me what’s what. I was certain that all the music I was hearing was brand new, but with a little research I found out that most of it was several years old. How on Earth had I missed the stunning pop of Hannah Georgas? Or the cool electro-funk of Walter Meego? What if I’d never decided to play around with Pandora and these amazing songs had remained unknown to me? This post is part advertisement for Pandora, which is an amazing service, but it’s also about stumbling out of one’s comfort zone. I love The Beatles, but you shouldn’t listen to them 100% of the time, this experience only reinforced that.

If you haven’t played around with Pandora in awhile go give it another shot. Let it show you things you didn’t even know you wanted to see. Or go visit a record shop and talk to that weird guy behind the counter. You know, the fat guy with Elvis sideburns who sweats all over you purchases and mumbles to himself. That guy knows stuff. Pick a genre you don’t normally listen to and give it shot. Or go on r/Music on Reddit and see what all the cool Internet kids are chatting about.

I feel like a kid on Christmas having discovered all these cool new bands! Here are a sampling of my favorites. If you have a chance, take a listen. And if you like this kind of music tell me about it in the comments. I want to find more of this mellow, dreamy, electronic music.

Currently in heavy rotation in my Shoegaze Playlist:

  1. You and I” by Washed Out. Washed Out famously provides the opening theme to Portlandia a hilarious sketch show on IFC. This song is hypnotic and mellow, I love it.

 

  1. “Happy Birthday Party” by Dom. This song totally feels like more upbeat, less drugged-out Animal Collective. This song should have been a monster hit with it’s rad hook and goofy-fun lyrics. It’s time to get gnarly, happy birthday party-party indeed…

  1. “Gasoline” by Alpine. A mix of dance and indie pop, Alpine are a really cool Australian band that have this weird knack for writing really fun songs that are catchy and fun as hell. These people should be household names.

  1. “Walk in the Park” by Beach Fossils. This is probably the only song on this list that I’d heard prior to falling into my shoegaze rabbit hole. This song is so ethereal and dark, but also really beautiful. I love this song.

  1. “Bullets” by Rebecca & Fiona. This is 100% pure dance music. Straight from Stockholm, Sweden, Rebecca & Fiona are these two really hot DJ’s who are making embarrassingly good dance music with sweet pop hooks. This song “Bullets” is rad and makes me want to dance. I never want to dance.

  1. “Standing on the Shore” by Empire of the Sun. I’ve been a fan of The Sleepy Jackson for many years but had no idea that Luke Steele was also the member of a synthpop band. Totally theatrical and totally glammed out, “Standing on the Shore” is a dreamy pop masterpiece. Weird? You bet. Over-the-top? Sure. Fun? You bet.

  1. “Robotic” by Hannah Georgas. This song is a real heartbreaker. There’s so much soul in her voice. This is one of those songs that feels old and worn in the first time you hear you it—like it’s been a part of your life this whole time. Sad and wistful hurts so good. I love it.

And in case you’re interested, here is my Shoegaze playlist on Spotify. There’s a ton more really cool songs and artists with more added every Friday:

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FLOATING OUT TO SEE By Gringo Star

Atlanta-based rockers Gringo Star returned this year with their third album FLOATING OUT TO SEE.  The band endured a couple of serious changes since their last album, COUNT YER LUCKY STARS came out in 2011.  For starters, the band lost one member/songwriter.  Then the band decided to forgo the usual studio/label process and instead record and distribute FLOATING OUT TO SEE for themselves.  So much change was bound to be reflected in the band’s new music.  That said, FLOATING OUT TO SEE marks a dramatic change for the band.

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Perhaps change is the wrong word, call it instead an evolution. FLOATING OUT TO SEE takes the psychedelic elements found on COUNT YER LUCKY STARS and increases them greatly.  Gringo Star continues to be influenced by the British-invasion era rock bands, but sonically the band is more spacey and expansive on FLOATING OUT TO SEE.  Though Gringo Star still reminds me of The Kinks, on FLOATING OUT TO SEE its as though The Kinks are playing 20,000 leagues under the sea.  The production has a murky, dreamlike quality that married with the sometimes-surreal lyrics make FLOATING OUT TO SEE a wacked-out beach party.

From the chirpy evanescence of “Find A Love” to the gloomy “100 Miles,” FLOATING OUT TO SEE covers a lot of sonic ground in a very short amount of time.  The album’s concentrated quality does mean that it takes a few listens before the album gives up all its hooky-secrets.  That’s not necessarily a bad thing, but it does mean that FLOATING OUT TO SEE lacks the immediacy of its predecessor.  Tracks that do immediately stand out, however, are “Peephole” and “Going Way Out.”  The former feels like a classic Ray Davies track with its jangled tale of neighborhood paranoia.  Likewise, “Going Way Out” recalls the dreamy popscape of John Lennon’s “#9 Dream,” it’s a fantastic song that sounds even better in the dark with headphones.  In fact, I’d encourage you to listen to the album at least once with headphones.

The album overall has a very chill vibe.  But that’s not to say that FLOATING OUT TO SEE is totally laid back and tranquil.  The garage rocker “Taller” gallops and the edgier “Look For More” has a thumping, brash Tame Impala-like quality that I really dig.   Really the complaint one could lob against Gringo Star is that for an album with 13 tracks, it runs a tad short at just over 35 minutes.  Sometimes less is more, but I’d really have liked for FLOATING OUT SEE to last just a little longer.

Change can be a scary thing, but Gringo Star has weathered it nicely.  On FLOATING OUT TO SEE they’ve crafted a solid album during a period of what could only have been chaotic and uncertain.  Hopefully the band will continue to grow and get us another batch of exciting material sooner, rather than later.

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My Top 10 Albums of 2012

Why have end of year lists have grown in popularity over the past 10 years? What does it say about us as a species that we clamor for and around arbitrary lists created by people we don’t know? My own personal theory is that the popularity of end of year lists serves two functions:

1. Validation. Obviously we like having someone tell us that our opinions are the right ones, and seeing our favorite things on someone else’s end of year list does that. It’s comforting to know that we agree with others but it’s even more comforting when that other is a critic of stature like David Wild or Roger Ebert.

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2. Facilitating our laziness. Why go out into the world looking for the best music, books, films, or art when someone in a black turtleneck can do all the heavy lifting for us? End of year lists distill a year’s worth of media into an easy to consume morsel. I’ve met people who base all their film watching on top critics end of year lists.

I’m guilty of both: I like looking at end of year lists to see my own personal tastes validated AND I like to use them to discover things I was too lazy to find on my own. I don’t think there’s anything evil or wrong about end of year lists, but they do tend to get out of hand this time of year. I think reading end of year lists are an okay use of your time…but I think making one of your own is a far better way to kill a few hours.

Why? Well, I think a great end of year list functions as a kind of yearbook. When I sat down to write my Top 10 Albums of 2012 list I started to simply list all the albums that really knocked my socks off this year. But then I started to consider things like “Am I still listening to these albums?” and “Do I see myself still thinking about/revisiting these albums in future years?” That made things a little more difficult, which I rather liked (I always do fancy a challenge).

So once I had my albums that moved me (or whatever) and then removed the ones I wasn’t still listening to, I found I had a much shorter list. I took that list and compared it to my blog for the past 12 months, chiefly–how many of these albums did I get around to writing about? What did I say? In the case of one album in particular, I found that I wrote about it A LOT. I factored that in when arranging my list from #10 to #1.

What was the most difficult part of making this list? Figuring out what actually came out in 2012 and what came out in 2011 that I only discovered this year. There were a TON of really great records that came out at the end of last year that I sadly only discovered this year—meaning they could not appear on my list. The record I most wanted to put on my list was Metronomy’s THE ENGLISH RIVIERA. That was probably the album I enjoyed the most this summer, but wouldn’t ya know it? It came out last year. I ran into a lot of that while making this list.

Please read this list, compare it to your own personal tastes (feel slightly validated) and then use it to lazily fill-in the parts of 2012 you overlooked or missed. Once you’ve done all that, jot down your own best of 2012 list, I think you’ll find it’s an interesting mental exercise and a fantastic way to reevaluated the music you’ve heard this year. Maybe even slip me copy of your list in the comments section below (I won’t judge).

With all that in mind, I present my Top 10 Albums of 2012:

10. HARMONICRAFT by Torche. Arguably the stupidest genre name of all-time is sludge metal. I don’t even know what that means. Torche’s album HARMONICRAFT is supposed to be sludge metal, but to me it just sounds like awesomely melodic hard rock. “Roaming” and “Kicking” are brilliant hard-rockers that sound like Jane’s Addiction meets The Cult. The album is dark and has a rough edge while still being catchy and fun. If you’re like me, you’re always looking for a hard rock that isn’t super-stoopid or endless banshee screaming: HARMONICRAFT strikes a nice balance between hard rock and pop. The guitar work is great, and so is that Brony-filled rainbow wonderland on the front of the album.

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9. COBRA JUICY by Black Moth Super Rainbow. I’m not really into electronica, but every now and then an artist comes out that manages to combine the best of rock/pop and dance music. Experimental music is really hard to like and even hard to recommend, but Black Moth Super Rainbow really pull it off on COBRA JUICY. It’s a neon-rave-up that’s got rock soul. Songs like “Windshield Smasher” and “Hairspray Heart” are what the second Sleigh Bells album should have sounded like: aggressively noisy yet super-groovy. Worth noting, this one was waaay off my radar, but was pointed out to me by my super-cool friend over at TAKEN BY SOUND, which is a really cool indie-rock music blog.

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8. WRECKING BALL by Bruce Springsteen. I know, I’m just as surprised as you are that Bruce Springsteen is on this list. I was listening to Little Steven’s Underground Garage and Little Steven (who is more than a little biased, being in the E-Street Band) talked up the record and played “Easy Money.” Before I could dismiss WRECKING BALL outright, I heard “Easy Money” and became instantly hooked. The whole album has a very electric-folk/Old-Timey feel to it. WRECKING BALL is Springsteen’s recession album, which while not much fun, does provide an excellent palette for a rough and tumble artist like The Boss. “We Take Care of Our Own” and “Death To My Hometown” are great, hardscrabble songs that could work for The Great Depression or the late 2010’s. Through it all, Springsteen remains a symbol of art nourishing us through the hardest of times. These are the times when a bard of his stature is most desperately needed. He didn’t disappoint.

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7. SLOW DAZE by Blonde Summer. Technically these 5 songs are an EP and not an LP, but after listening to SLOW DAZE on virtual infinite repeat this summer: I’m promoting it to full LP status. Blonde Summer’s amazingly breezy, super-fun album reminded me what it feels like to be young and just enjoying the warmth of summer: and that was just the title track. The rest of SLOW DAZE is top-notch indie-rock that’s fun (“Robots on Command”) and heartfelt (“Walking in Space”). Minimal and echo-y, SLOW DAZE is like a short romp with an incredible lover—it doesn’t last very long, but the warm glow it gives you lasts and lasts. Hell, I’m still tingling from the noise-rock of “December,” and it’s actually December now. SLOW DAZE owned my summer and has made me super-eager to see what these guys do next. But for now, we’ll always have this summer.

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6. LONERISM by Tame Impala. Pound for pound, LONERISM has more cosmic-freak-out-otherness than any other album on this list. If you’ve ever wanted to get high without drugs, grab a pair of headphones and take this album into a dark room. Close your eyes and prepare to go on adventure. Imagine Oasis and The Flaming Lips doing a shit ton of LSD and then merging into one band: that’s LONERISM. “Endors Toi” and “Elephant” shatter your mind and then blow away the pieces. I really liked BEARDS, WIVES, DENIM by Pond, which is essentially Tame Impala, but overall I think LONERISM is the stronger, more accessible record. But don’t take my word for it: go sit in the dark tonight with this album.

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5. CLASS CLOWN SPOTS A UFO by Guided By Voices. One of my all-time favorite bands came back, and they came back in a big way this year. Not only did the original GBV line up return to tour, they released not one…not two…but three incredible records. When was the last time a band came back after disbanding and put out ONE good album? Exactly. Robert Pollard is a rock ‘n roll Jesus (sorry Kid Rock). Picking which of the three albums to put on this list was hard, but also kinda easy: of all their 2012 records, this is the one I rock out to the most. The title track is probably the greatest GBV “single” in a decade. “Keep It In Motion” and “Forever Until It Breaks” are icing on the cake. All GBV albums have short, micro-songs that many people dismiss, but CLASS CLOWN SPOTS A UFO has the best short Pollard nuggets I’ve heard in a long time (“Roll of the Dice, Kick in the Head”). And don’t get me started on the awesome, Who-like “Billy Wire.” Okay, I’ll get started on it: “Billy Wire” fucking rocks my socks and makes me feel like I’m a badass Mod seeing a super young/virile Who tear up a small English nighclub. Long live GBV.

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4. MAJOR by Fang Island. Fang Island does what Torche does in that, they offer up heavy riffs with strong melodies. The difference is that Fang Island is more indie rock than mosh pit. “Sisterly” is so hard-charging but at the same time sweet. I don’t mean “Dude that’s sweet,” I mean little kitten hanging on a clothesline sweet. Fang Island are so cool they don’t care what you think of their earnestness. These guys are serious musicians, too. Even if you don’t usually go for instrumental rock, you’ll dig their instrumental “Dooney Rock.” It’s an interesting, tasteful, non-wankfest that will win over even the most jaded music fan. Fang Island is equally heavy and gentle; it’s hard indie rock for sensitive hearts.

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3. LOVE THIS GIANT by David Byrne & St. Vincent. Who knew that teaming up the dude from Talking Heads and that weird indie-chick St. Vincent would yield such a good harvest? The bombastic lead track “Who” is real stunner, but it’s the one-two-punch of two unlikely freaks getting together and letting their freak flags fly that elevates LOVE THIS GIANT beyond “Who.” This is Byrne’s strongest post-Talking Heads work, hands down. It wasn’t that I’d written him off so much as I just didn’t bother to really think too much about David Byrne at all. LOVE THIS GIANT re-establishes Byrne as a relevant artist with a lot more to say. I wasn’t super familiar with St. Vincent prior to LOVE THIS GIANT, but I’m learning. That she’s half his age and still manages to hold her own in the presence of such a legend is no small feat. I still get chills every time I hear “Optimist.” So, in summary: the triumphant return of one of rocks most unlikely superstars plus a rising indie-songstress plus crazy horns equals LOVE THIS GIANT. It’s a record that you put on and feel refreshed, challenged, and puzzled by.

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2. A DIFFERENT KIND OF TRUTH by Van Halen. Nobody thought that a new Van Halen album was going to be a dismal failure more than me. Go back and check the endless jaded, negative, anti-Wolfgang posts. I’m a big man, I can admit when I’m wrong. Sure, “Tattoo” fucking sucks. It’s the worst song on the album and it’s slightly embarrassing…but everything else on A DIFFERENT KIND OF TRUTH works. Maybe the songs are recycled from decades long since past, but so what? They were still re-worked and recorded by the Van Halen of today, and they don’t disappoint. It’s like it’s 1984 all over again: big choruses, crazy solos, thumpin’ drums, super-bravdo, etc. Van Halen don’t reinvent the wheel so much as get it rolling again, and thank God…because rock was starting to get so dismally boring. “Blood and Fire” recalls the pure adrenaline of “Panama.” “You and Your Blues” is like an update of “Unchained.” Van Halen shouldn’t work in 2012, but somehow they do. My favorite track, the one that gets the most play at the gym is the stupidest: the frivolous “Stay Frosty.” Why does “Stay Frosty” continue to get played? Probably because it’s a straight up rocker that’s fun and funny. While I was busy being jaded, Van Halen was busy partying. At a certain point, it’s easier to just give-in and love them. So you win guys, A DIFFERENT KIND OF TRUTH rules.

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1. PSYCHEDELIC PILL by Neil Young & Crazy Horse. I am completely and utterly in awe of this album. Long, meandering, and epic, PSYCHEDELIC PILL was the one album this year that could have been released in 1968 or 1970 not no one would have blinked. Not because it sounds like it’s from that period in time, PSYCHEDELIC PILL is truly a record out of time: intensely personal and yet also very distant and spacy. This is a folk record. This is a jam-band record. This is a singer-songwriter album created by a full band. “Walk Like A Giant” is the work of an incredibly powerful wizard, hurling lightening bolts of rock. I had no idea Neil Young still had it in him to create such a potent work of pure genius. This doesn’t even sound like a comeback it sounds like he never left. Those who scoff at the albums longer cuts, of which there are a few, are missing the point. Like I said in my original review: “the album opens with “Drifting Back,” a 27 minute-long song that’s acts as a kind of sonic air lock, decompressing the listener into the album’s atmosphere. Or perhaps a better metaphor would be that’s a time machine. I like that better because PSYCHEDELIC PILL sounds like lost 1970’s record, with the lengthy “Drifting Back” serving as a trippy time tunnel to the past.” The free flowing extended jams are the destination, not the journey. PSYCHEDELIC PILL is an intricate album that I predict will endure as a kind of sonic evergreen, which will be studied and appreciated for decades to come. Do yourself a favor and check out this once-in-a-generation masterpiece.

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Flaming Lips & Tame Impala Collide On “Children of The Moon”

In my review of the latest Tame Impala album, LONERISM, I noted that Tame Impala sounded a bit like Oklahoma freak-rockers The Flaming Lips.  I think that both bands share a common 60’s-LSD-Beatleband strand of DNA, but what would happen if the two bands were to meet?  Would a rainbow-colored funnel of sunshine spew trippy death all over existence? Or would they just make a  really nice song?

The Flaming Lips are good at a lot of things, but spelling is not one of those things.

Turns out they’d just make a really nice song.  The Flaming Lips put out an album of collaborations this year called THE FLAMING LIPS AND HEADY FWENDS (sic) which features Tame Impala.  The song, “Children of The Moon,” might not be as epic of mind-blowing as one would hope…but it is really good.

The song leans more towards the Australian rockers mellow-gold rather than The Lip’s more purple nurple sound.  Still, you can definitely hear how The Flaming Lips magnified Tame Impala’s more understated vibe (to great effect I think).

Check it out:

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LONERISM by Tame Impala

Australian daytrippers Tame Impala burst onto the collective consciousness in 2010 with their fantastic debut album INNERSPEAKER.  That record, which I once described as perfect Sunday morning chill-out music, set the bar pretty high for the band.  I honestly didn’t expect to hear from Tame Impala so quickly, especially after lead singer/songwriter Kevin Parker released an album of similarly psychedelic (but far woolier) tunes under the name Pond in March of this year.  Much to my delight, however, Tame Impala is back with their new album LONERISM.

In case your’re wondering, the sign on the gate reads: “Dogs, even on a leash, are not admitted beyond this point.”

What I find most interesting about the album is that it’s both a leap forward and a step back.  Sonically, the album is lightyears ahead of INNERSPEAKER, which itself was hovering at the very finge of our soloar system.  The band pushes the band’s sound even further into space with it’s  heavier use of synthesizers.  Parker has said in interviews that LONERISM is more prog/indulgent that the last record.  And while that typically is a negative, in this case the songs on LONERISM run wild without running completely away (the longest song clocks in at just over six minutes).  The band’s vast, spaced-out sound is pushed to the limits on such tracks as “Mind Mischief” and “Apocalypse Dreams.”  Both tracks sound like a calmer, mellower, less cartoon version of The Flaming Lips.  LONERISM also recalls Todd Rundgren, whom the band has cited as a major influence.

That said, LONERISM is also a bit of step back in that lyrically the majority of the songs deal with personal issues of loneliness, isolation, and social awkwardness.  The best example of this is the woe-is-me jam “Why Won’t They Talk To Me?” in which Parker sings about being alone and only thinking he’s happy. This material would probably seem whiny, self-pitying, and immature except that it’s swathed in a big bouncy beat.  The trippy vibe takes an emo kids lament and transforms it into the inner musings of a stoned philosophy major.  The albums themes of isolation are also represented on the album’s cover, which is a photo taken by Parker at a French public park.  I think the shot of the happy people viewed through the bars works best with “Why Won’t They Talk To Me?”  Tame Impala was smart to both expand their telescope sonically while at the same time write more personal songs. It keeps the band from floating away entirely into the stratosphere where the listener is unable to relate to them.

Sitting amongst the green.

Special mention should be made concerning the band, specifically Kevin Parker’s affinity for John Lennon.  John Lennon’s ghost looms large on LONERISM, specifically on the albums best songs “Feels Like We Only Go Backwards,” “Sun’s Coming Up,” and “Elephant”.  Parker’s vocals eerily channel the former Beatle throughout the album, but on “Feels Like We Only Go Backwards” sound like a lost PLASTIC ONO BAND track.  “Sun’s Coming Up” sounds like a sleepy/boozy Lennon demo for one of his piano ballads. “Elephant” which is my favorite track on the album, sounds like “For The Benefit of Mr. Kite” merged with “I Am The Walrus.”  It’s a lumbering rocker that wouldn’t stick out too much on MAGICAL MYSTERY TOUR.   The homage/influence of Lennon will probably turn off as many people as it switches on.  I don’t think it’s 100% fair to give Tame Impala too much grief about this because:

1. The dude can’t help who he sounds like

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2. There are worse things to be like than John Lennon.  Do Tame Impala rip off The Beatles? No.  Do they re-invent the wheel? No, but what they create vast sonic murals of trippy space rock and they do it well–end of story.

Ah. Freak. Out.

Tame Impala have forged a solid second record with all the big, epic sound you’d expect from the band that brought us INNERSPEAKER.  However, more than just delivering more of the same, the band has stretched their legs and dug a little deeper for LONERISM.  The album, while not as top-to-bottom perfect as INNERSPEAKER, still manages to capture the imagination and delight the listener.  To say that LONERISM is a headphones album would be the understatement of the year.  Switch off the lights, pop in your ear buds, and close your eyes.

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My Top 5 Most-Anticipated Albums

2012 is nearly over can you believe it?  Seems like only yesterday I was writing about 2011 (The Year Of The Battling Gallagher Brothers). Time flies when you’re having fun.  Speaking of fun, there’s a bunch of really cool records that are coming out at the close of 2012.  In fact, there were so many really awesome records about to  “drop” that I actually had trouble narrowing it down to just five!

So how does an un-released record get on my “Most Anticipated” list?  Well, it has to be an album whose release date I’ve been eyeing for a while.  The record has to have an “official” release date DAY and MONTH…none of this “September 2012” nonsense where the record company can repeatedly move the street date.  And lastly, the record has to be something I plan on going out and BUYING the day it comes out–that means it’s an album I’m super-duper stoked about.

My Top 5 Most-Anticipated Albums:

1. HOT CAKES by The Darkness (August 21): I don’t have very long to wait for this one, and yet it feels like I’ve been waiting for seven years.  I guess that’s because I have been waiting for seven years!  I seem to be in the minority that believe 2005’s ONE WAY TICKET TO HELL…AND BACK! was better than the british-rocker’s debut PERMISSION TO LAND (otherwise known as the album that spawned “I Believe In A Thing Called Love”).  The band broke up, but like a phoenix from the flames, The Darkness have returned.  The new songs are growing on me and all the reviews I’ve read have been positive.  Here’s hoping for an amazing comeback.

HOT CAKES

2. CENTIPEDE HZ by Animal Collective (September 4): I’m a late-comer to the greatness that is Animal Collective, but I’ve been voraciously consuming their entire catalogue.  They seem to be one of those rare bands that seem to get more daring and more creative the bigger their audience gets.  I was completely and utterly blown away by their last album, MERRIWEATHER POST PAVILLION, with it’s luscious electro-freak-rock vibes.  I really can’t wait to see what the band pulls out of it’s freak bag.  And with song titles like “Monkey Riches” and “Applesauce” how can this be a bad record?

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3. TEMPEST by Bob Dylan (September 11): Alright, I know what you’re thinking…Dylan, really? Well I think Bob’s last few records have been just as good as anything he put out in the 1960’s.  There.  I said it.  Well, maybe not CHRISTMAS IN THE HEART so much as MODERN TIMES.  MODERN TIMES was the album that made me truly fall in love with Dylan and give into the fact that he really is as good as they say he is. TEMPEST is rumored to be Dylan’s final album (the title of the album being an allusion to Shakespeare’s final play).  This one is sure to be really weird and epic, just like a good Dylan record should be.  There’s supposed to be a 14+ minute song about the Titanic on the  album, if that doesn’t get your juices flowing I don’t know what will.  Another song is going to pay tribute to fallen Beatle John Lennon, which should be sweet (although he’s been dead for 30 years, what’s been the hold-up, Bob?).  Love him or hate him, if this is his final album don’t you wanna experience it?

TEMPEST

4.  BATTLE BORN by The Killers (September 18): I know, I’m just as surprised as you are.  Who’d have thought that the HOT FUSS boys would still hold my interest four albums into their career.  Sure, the band hasn’t lived up to the hype that singer Brando Flowers notably likes to cultivate, but I’ve really enjoyed watching them slowly morph into Bruce Springsteen-like “heart-land” rockers.  The album is named after the motto on the Nevada State-flag and comes after the band enjoyed a bit of a hiatus…that’s about all I know.  They released a serviceable first single back in July titled “Runaways.”  It was just okay, I know I shouldn’t be as excited about this record as I am but I just can’t quit this band.

BATTLE BORN

5.  LONERISM by Tame Impala (October 9): Australian psychedelic-rockers Tame Impala have mercifully recorded a new album! I am super-excited about this because I am in dire need of awesomely-trippy, chilled-out tunes.  If you haven’t experienced the band’s first album INNERSPEAKER I urge you to get a pair of headphones (really good ones) and drift off with Tame Impala.  I was worried that the band might not be able to live up to their amazing first album, but if the new songs are any indication, LONERISM is going to be just as good as the first record.  Go treat yourself to the glory of “Apocalypse Dream.”  You deserve it.

LONERISM

Honorable Mentions:

911 by Trash Talk (October 9)

PUSH AND SHOVE by No Doubt (just for the train-wreck factor) (September 25)

JACK SELLS THE COW by Robert Pollard (September 18)

SHIELDS by Grizzly Bear (September 18)

FOUR by Bloc Party (August 21)

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Tame Impala “It Is Not Meant To Be”

Fantastic Tame Impala song from INNERSPEAKER.  Stay mellow, kids.

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Sunday Morning Chill-Out

There’s nothing better than lazing around the house on Sunday morning.  I like to make a pot of coffee, stay in my PJ’s, and listen to some good music.  Not everything “chill” has to be “lame,”  there’s some really awesome mellow music out there.  But what does the super-hipster-rock dork listen to when he wants to both maintain credibility AND be mellow in the morning?

How about a little David Bowie…in Portuguese! Brazilian singer-songwriter Seu Jorge did a whole album of classic David Bowie covers for the 2004 Wes Anderson film THE LIFE AQUATIC WITH STEVE ZISSOU.  You want mellow? Wrap your ears about Jorge’s smooth vocals and crisp acoustic renderings of one of rock’s trippiest artists. All the classics are covered, from “Changes,” “Suffragette City,” and of course the epic “Space Oddity.”  This is probably the best covers album I’ve ever heard in that, the songs are truly interpreted rather than just covered.  I realize that the reason these Bowie songs sound so phenomenal is because they’ve been translated into Portugese (an achingly beautiful language) but I also think Jorge is a fantastic singer.  This way more than just an album of note-by-note covers.

Sue Jorge, prior to learning how to hold an acoustic guitar.

Those wishing for something trippy AND recorded in English  could groove to the cosmic-mellowness that is Tame Impala’s album INNERSPEAKER.  Tame Impala is a fantastic Australian band that makes a noise I would call “dream pop.”  There’s lots of 1967-type mysticism in their lyrics, which is always good for a Sunday morning hangover.  Turn it up a bit, and let the psychedelia wash away your weekend worries.  I really like the echo-y Lennon-esque vocals and the fantastic drums.  Seriously, this band manages to have great, boisterous drums while still maintaing a laid back sound. The songs are all around the five minute mark and manage to walk the fine line between “trance-like” and “coma inducing.”  Though it’s most definetly “rock”  the band’s arragements are very jazz-inspired.

Apparently this is what Australia looks like...if you're on drugs.

I find them hypnotic, my wife says they make her sleepy–drink plenty of coffee (preferably from Dr. Robert) and you’ll be fine.  What do you like to listen to on Sunday morning?  Sound off in the comments section below.  And remember, stay chill.

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