The Black Angels continue to churn out brilliant psycho-rockers after barn-storming brilliant dreamweavers of records, this time in the form of Phosphene Dream, a ten-track journey to the depths of the inner eye, a window to a hard-rocking, drug-infused, phantasmagorical dreamworld. More than ever the band relies heavily on 60s-era Zombies-esque melodies while incorporating the loud-quiet-loud dynamics of modern indie rock, crafting a sound wholly their own and unbelievably exciting while still familiar. Quite possibly their strongest record to date, check out more from this great Austin band!
In what might be construed as a big departure from the heavy, emotional indie-rock of Rilo Kiley or her solo career, Jenny Lewis, performing here as Jenny and Johnny with long-time boyfriend and some-time collaborator Jonathan Rice, has crafted a breezy summer record sounding every bit the Little Joy to her former band’s the Strokes. With its carefree rhythms, jangle-pop instrumentation, and swooning male-female vocals, one might mistake this record for a one-off spin at a barbecue were it not for the wordy, literate lyrics on Ourobourous and switchblades that keep this otherwise sleepy record feisty and new. The subtlety that slinks into the songs might go over the casual listener, but with bizarre instrumentation and haunting, strange lyricism throughout Jenny Lewis proves once again to be the indie-rock queen we all swoon for. Give it a listen! Jenny and Johnny – “Switchblade” by Cannibal Cheerleader
Shattering and exploding their way out of San Jose, Costa Rica The Great Wilderness craft a brand of bluesy-psych rock that, by the power vested in a few dozen shoegaze pedals, absolutely and unbelievably incinerates, sending the listener careening through the haunting dreamworld this quartet has managed to manufacture. Equal parts pummeling riffs and ethereal guitar rhythms these four ladies sound every bit the more garage-rock edginess of early Black Rebel Motorcycle Club with enough feedback, tape hiss, and distant, uninterested vocal stylings to make this underground sensation the coolest group you’ll no doubt hear all year. There exists in the Great Wilderness not only a fierce level of originality, combining grunge rock energy with dream-pop introspection, but also a heightened degree of genuineness, owing no doubt to the rabid ferocity that comes through with every track off their excellent debut EP Afterimages of Glowing Visions. As an aside, were there a greater match between title and content for a record this year, let us know because the sunspots in your eyes after the flash is every bit what the Great Wilderness bring to the table. Download their EP here immediately – here’s hoping these girls can make it to the States soon!
Film School has always created a lush, articulate brand of swooshing nu-rock that blows their more mainstream contemporaries (I’m looking at you Silversun Pickups) right out of the water. However, on their newest record Fission, the quintet has dialed back the swell and upped the ante on the indie, churning out lithe, piercing tracks of blazing harmony, relying on the strength of their musicianship more than ever. It’s a gamble from a group that has staked their claim on My Bloody Valentine references, but sounding more like a Cocteau Twins or Lush jam highlights the bold new directions the group is willing to head towards. Tracks like “Heart Full of Pentagons” suck the listener directly inside and propel them through the Film School universe like a guided stargazing trip through the cosmos with alien voices explaining in beautiful detail each star’s birth each supernova each black hole. Altogether a fantastic effort from the group yet again and worthy addition to their already incredible catalogue.
It’s no secret that with a name like Cannibal Cheerleader we’re huge fans of any band that calls itself ‘the Killers‘, which is why we’re incredibly elated to learn (perhaps late to the game) that lead singer Brandon Flowers will be releasing a solo album called Flamingo in early September (that’s the cover art up there). Maybe it’s the fact that the band genuine rags-to-riches-story, their rise from indie-credibility to stadium-seating rock gods, or just that they write some damn fine rock and roll music, but despite their ‘mainstream popularity’ we still think of the Killers as one of the best groups working today. Now that Brandon Flowers has taken the reigns himself there’s no telling where he’ll go, though the release of the first two singles “Crossfire” and “Swallow It” suggest the singer has given himself some room to breathe, building on the fist-pumping, soaring pop-rock of the Killers and letting his inimitable voice and ’so-clumsy-they’re-incredible’ lyrics mesh over a webwork of shredding guitars and plucky samples. Here’s hoping the whole album sounds like these tracks – if so it’ll be one of our favorites of the year.
Our favorite French purveyors of post-punk classics Nouvelle Vague have released a new ‘Best Of’ compilation, which would otherwise be unremarkable (considering we have all their albums on constant rotation) if it weren’t for the supremely excellent bonus disc which contains unreleased and rare live tracks, including smashers like “Pride” and “Come On Eileen”. Another notch in the belt for this overwhelmingly rewarding band whose tracks recall a world of haunting melody and high impact songwriting. Check it out! Nouvelle Vague – “Pride (In the Name of Love)” by Cannibal Cheerleader
As one of the best examples of rip-roaring, blood-letting psych-rock in modern music, one criticism could always still be leveled at Canada’s Black Mountain: their lack of album-length focus. Their fury may be centric and their jam-band noodling essential to the experience but their unsureness in tone and penchant for not filing down the weaker elements of individual tracks have hindered the band thus far – that is, until their newest album Wilderness Heart blew all of that out of the water. Featuring barn-burning guitarwork mixed with haunting folk ballads, Black Mountain still maintain a fiery edge even on slower tracks, keeping the audience just south of comfortable on all of its twisting and turning tracks. There remains a feeling of unease coursing throughout Wilderness Heart, owing in no small part to the resolute and direct nature of even the album’s most sprawling numbers – this group knows exactly what they’re doing and sure as a shark in the sky they will swoop down and bite your head off with it.
Long-standing Cannibal Cheerleader favorites Blonde Redhead have a new record entitled Penny Sparkle, which follows in the enormous wake of their last, inimitable masterwork 23. With that in mind the group has clearly taken their newest work in a different direction, relying on more electronic beats and production tricks than most any of their previous LPs, all to magnificent effect. Coming across as heartfelt purveyors of sonic emotion in a see of cold, tinkling drumbeats and synth warbles, Penny Sparkle might just be the group’s most haunting and touching work to date. Far from the bombast and soaring nature of 23, this new LP demonstrates the NYC trio hasn’t forgotten how to touch upon the intricacies of human experience. Blonde Redhead remain one of the most rewarding indie-rock outfits operating today and Penny Sparkle continues to reflect their endless depth and creative breadth. Blonde Redhead – “Not Getting There” by Cannibal Cheerleader
Having just finally obtained a fresh copy of Interpol’s self-titled newest LP, Cannibal Cheerleader can say with confidence that’s we’re sticking with our initial review that the group’s use of swirling guitars and angular rhythms are back in fine form. A cerebral and radio un-friendly record Interpol seems positioned to grow on listeners, immediately warranting and subsequently rewarding multiple listens. Stripping away the dancier elements of some of their previous records and emphasizing the otherworldly qualities of their haunting instrumentation, incorporating layers not touched upon since Turn On The Bright Lights. Altogether a mysterious and strangely fulfilling work – definitely worth checking out.
The thought that Cannibal Cheerleader hadn’t yet discovered and sang the praises of Montreal’s utterly excellent Land of Talk until recently can only be construed as a travesty, as the group quickly became one of our favorite new listens. However, it wasn’t until we heard their newest release Cloak and Cipher that we truly understood the might and majesty of this group as without a doubt this record will be remembered as one of the finest indie-rock releases of 2010. With a fiery intensity and layered, bomabastic production this Canadian threesome led by frontwoman extraordinatire Elizabeth Powell lets fly on ten tracks of seething emotion and heartfelt guitar-rock, sounding every bit a massive effort despite the group’s small size. The most impressive elements of this record, the powerful riffs, the tear-tugging earnestness, the swimming-in-ether instrumentation, all come together perfect, forming a piece that speaks of all the difficult moments of life often swept under the rug, kept tightly pressed to your chest. Powell has delivered on the promise of every previous Land of Talk record – this is her Execution of All Things, a crippling masterwork of deep-rooted feeling and power. Definitely worth a listen.
