When they stepped onto the stage at Boston's Great Scott last night, Phantogram's Sarah Barthel and Josh Carter looked remarkably young and fresh-faced, not unlike the college kids who made up the majority of the crowd. For some reason, I expected the duo to be older—maybe just because the assured songs on their debut full-length Eyelid Movies (released just in time for last night's show) seem to reflect the confidence of long experience.
Phantogram's sound--which whips together bright, ringing guitars, smooth vocals, and dense, hip-hop-esque beats--sometimes reminds me of vintage Portishead or Bowery Electric, minus the feeling of stoned relaxation. Instead, songs like "Bloody Palms" and "Running from the Cops" combine languid melodies with an edgy, beat-driven intensity, while even the slower tracks, like "You Are the Ocean," seem to throb with anxiety. Though a few songs (like album closer "10,000 Claps") sound less fully developed than others, Eyelid Movies makes for a cohesive whole, filled with a compelling, seductive energy.
That energy was on full display last night at the show, when a small but adoring crowd danced, bounced up and down, sang along, and otherwise displayed their devotion. It may have been the band's relative inexperience that brought a slight initial tentativeness to their live show; it took them a few songs to really pick up the energy from the album. Still, for a two-person band (Carter on guitar and vocals, Barthel singing and dancing behind a daunting bank of synthesizers) Phantogram generated a remarkably big sound. They saved "When I'm Small" for last, and with good reason: it's probably the best song they've written yet, and it sounded incredible live, closing the show with a sexy, energetic swagger. As time goes on, I have no doubt they'll be able to harness that potential over a long-lasting career.
In honor of yesterday's release of the new Beach House album, Teen Dream, thought I'd share the video for my current favorite track, "Silver Soul." Singer Victoria Legrand directed this video, one of several included on a DVD when you buy the album; it features some truly mystical hula hooping in, you guessed it, hues of silver:
Last fall, a friend of mine traveled to Copenhagen with the express purpose of seeing "Tomorrow, in a year," the Knife's opera based on the life of Charles Darwin. (Apparently, it was well worth the journey.)
The rest of us fans of the Knife may not be quite as devoted, but we can at least share in the awesomeness on March 1, 2010, when the Knife will release "Tomorrow, in a year" in album form. A collaboration with the artists Mt. Sims and Planningtorock, the opera will also be performed live in select European cities in 2010, according to their website.
For now, you can sign up to their mailing list at the link above to get a free MP3 of a new song. Called "Colouring of Pigeons," the 11-minute epic rides a slow build of thunderstorm rainforest percussion into elegantly operatic vocals by an unknown singer, before the familiar voice of Karin Dreijer Andersson winds its way out of the shadows. Stream it below:
The guys in Spoon recently sat down with album-mastering legend Howie Weinberg to chat about the mastering process, and his thoughts on Spoon's new album "Transference". The results are pretty hilarious:
Spoon's "Transference" is out January 19th, and can be pre-ordered here.
OK, so you are sitting around in your post-New Years Eve haze, thinking to yourself, "I love the pop-stylings of Jens Lekman, but I really wish I could hear his songs as played by snotty, loud riff-meisters from Chicago."
Well, as fast as you can say "Whoomp there it is", here it is, courtesy of our friends, Team Band:
Fever Ray – Fever Ray. The Knife’s Karin Dreijer Andersson harnesses dualities— organic/artificial, animal/human, male/female, adulthood/childhood—to create a fascinating and cohesive whole. I haven’t been able to stop listening ever since I first heard “If I Had a Heart” back in January. This is music constantly revealing itself, forcing you to look deeper.
Sin Fang Bous – Clangour. The cover of this LP shows the song titles cobbled together from twigs, branches, paper, and bits of metal—a fitting metaphor for the layered and vibrant sound of Icelandic musician and artist Sindri Már Sigfússon. Meticulously crafted (but never twee) songs like “Carry Me up to Smell Pine” and “Clangour and Flutes” lead you along a forest path of unexpected twists and turns.
Other highlights (in no particular order): The XX – XX, Patrick Watson – Wooden Arms, Telepathe – Dance Mother, A Sunny Day in Glasgow – Ashes Grammar, JJ – JJ No. 2, Moderat - Moderat, Hope Sandoval and the Warm Inventions – Through the Devil Softly, Animal Collective – Merriwether Post Pavilion, Asobi Seksu – Rewolf
Favorite EP
Maybe it’s the predominance of song-by-song digital downloading—or maybe our attention spans are just getting shorter—but it seemed like there were almost as many EPs as full albums this year. Break out the long-players, guys!
Glasser – Apply. An irresistibly energetic blend of tribal percussion and soaring female vocals, combined with some awesome remixes (especially the John Talabot version of “Learn”), make this the perfect soundtrack for both a brisk run on the treadmill and a peaceful walk in the sunshine.