Arcsin(100) – Fine Gutters 8.5

                Arcsin(100) have heart. I’m reminded of the best of early grunge and indie pop while I get this through my head. My closest comparison would be early Sebadoh. However, perhaps everyone might not be familiar with Sebadoh or other forms of the stripped-down, emotional sound Arcsin(100) employs. Think of this album as “Shaggy Dog” rock.  

                 This is a sprawling album. An album with 24 tracks can be daunting. Don’t let it be. Really there is every reason to enjoy it. Each song is well-done and themes pop in and out of the album. Having themes means you can grab a couple songs and realize how well they fit together. 

                “Newton” starts things off. In the beginning, it sounds reminiscent of a band off the Siltbreeze label, with the loudness and distortion. Remember the short-lived genre “Shitgaze”? Well, Arcsin(100) remembered it well with this song and a few others on here, specifically this one and the fuzzy “Realize Nothing”. 

                Most of these songs are more acoustic-based. All are lo-fi. I don’t think Arcsin(100) could keep the same level of intimacy if they choose a higher-fidelity format. With their approach, they manage to remain a bit closer to the listener. Having silly lyrics certainly helps as well.

                Due to the many songs, I have a few sections which I particularly enjoy; specifically “She got hit by a Car” to “NASA”. “NASA” has some silly-sweet lyrics. My favorite line from NASA has to be the smile inducing “It’s the future/and everyone hates Earth”. As I was called a ‘spacey kid’ for more times than I can possibly count I enjoyed the day-dreaming hopes of the singer. 

                “The Light Lines” to “00110” would be my other favorite section of songs. “Diesel Engine” is the best song on the album for me. While I listened to this I lay down on my bed, sweating doing nothing. Arcsin(100) wrote the song specifically for that purpose. I’m certain of it. 

                I’m always excited when I stumble upon something this instantly enjoyable. You don’t have to do any elbow work. Jeff Lownsbury has already done it for you. This is fantastic.

Cactus Cooler – Volume I 7.6

                Imagine discovering a tape thirteen years after it had been recorded. You’d realize you’re uncovering a time capsule. Whatever is on the tape hasn’t worried about music trends for a while, if ever. Tapes represent a kind of sweet love, a cottage industry of care. 

                Cactus Cooler reminds me of the “Anti-Folk” movement. All the humor and warmth I remember from that painfully short-lived and explored genre is present on this tender release. Christian Filardo uncovered this rather strange collection of songs. Thankfully he’s decided to share them with the world on his label HolyPageRecords.

                None of them are particularly long. Brandon Shimoda (the man behind this project) appeared to understand the phrase “Brevity is the soul of wit”. With most songs under two minutes, they don’t overstay their welcome. The lyrics are silly and melancholy. 

                Silliness and melancholy is displayed in full effect on the song “Santa Loved You”. Hearing “For Santa loved you like a mother/Oh Santa loved you like a brother/Oh Santa loved you more than any other” are probably the sweetest lyrics I’ve heard in some time. Is it twee? It probably is. 

                The sweetest songs are “Whale of a Friend” and “Animal Wishes”. “Animal Wishes” has better fidelity than most of the songs, though that’s not saying much. Brandon’s voice takes some getting used it, as the high pitched quality could bother some listeners.

                Really though, this is an extremely enjoyable little gem, left alone for far too long.

Gary War – Police Water 7.3

                 Gary War emerged from the muck of countless synthesizers in 2007. Since then, he’s been releasing a decent, though not massive, amount of music. This EP happens to be one of my more liked projects of his. Here he appears to hone his craft even further.

                I remember when I was first listening to “Born of Light” I was walking through various subway tunnels. As the song’s quiet introduction exploded into a futuristic pop, I thought it was the perfect thing to hear as I passed by countless underground lights. Easily this is the best song on the entire EP; it just seems to be his mission statement. The vocals are thin, the sound dramatic. Out of all the songs, this one I hope represents what his future development might be. 

                Actually a lot of the EP sounds fairly dramatic. Whether or not this is a conscious effort on his part, I’m not sure. By having a focus on more emotional content rather than pure gear worship, he’s able to avoid a lot of the criticism thrown at countless other lo-fi electro artists. 

                “Grounds for Termination” and “Who and Why” bring to mind the best of early Ariel Pink material. I mean that as the most sincere compliment. While “Grounds for Termination” has this wonderful chugging pace, “Who and Why” feels like I can hear Ariel’s “West Coast Calamities” bleeding through the murk.

                30 minutes means it’s a fairly long EP but it breezes by quickly. Give it a few listens; it takes some time to get acquainted with Gary’s odd sonic universe. The effort is worth it.

Zomes – Earth Grid 7.3

                 Asa Osburne continues to carve out a niche for himself with Earth Grid. When I first heard this, I had a hard time thinking why exactly I liked it. Perhaps it had to do with the unabashedly lo-fi blunt style of the recording. Or could it be he takes an extremely slow, deliberate approach to his music. However you want to interpret this, it is a real grower. 

                Using the most basic elements (drone, extremely dusty drum machine) he manages to create a warm, almost optimistic sound. Walking with this on, I felt the music began to make me feel better, it calmed me down. At no point does Zomes try to shock you with any loud sounds or a tempo which would indicate consciousness.  Instead, he decides to let you focus on the drone melodies with extremely simple drum beats (in this recording they function more as a metronome than as a real beat per se).

                I enjoy how he uses extremely dated equipment for this album. He doesn’t feel the need to really expand the palette beyond the most basic of melody and progression. While this might annoy some listeners, it comes across as unusually soothing music. Pieces of rock, krautrock, and drone can be found within these 41 odd minutes.

                For me, the longer songs work better as they show off the fruits of this dedication. By far the best track on this short album is “Alec’s Anthem” where the long length reveals a real knack for writing slowly shifting songs. Generally speaking, the longer track lengths do a better job of exploring the many variations of a single loop. 

                Consider this lo-fi meditative music. Zomes manages to make something apparently so simple into something with a great deal of heart and soul.  

LA Vampires featuring Matrix Metals – So Unreal 8.1

Having already been exposed to Matrix Metals and LA Vampires collaboration with Zola Jesus this year, I didn’t have high expectations. Both of those recordings left me feeling a little left out in the cold. Amanda Brown was responsible for Pocahaunted (a band close to my heart) and the man behind Matrix Metals created a favorite Outer Limits Recordings, so I felt I owed them another chance. They proved my hope was not misplaced. 

                These two play off each other quite nicely. Matrix provides the narco background, and Amanda’s voice expands into nothing with her carefully honed hipness. Each one goes on far longer than you’d expect, but somehow the length of the tracks adds to what’s going on. Upon repeated listens, bizarre goings on between the loops becomes apparent. 

                “Make Me Over” serves as the single for the group. If you can’t get through this haze, then call it a day. Most of the album follows in the same vein of drugged out lo-fi. But the real winner on here (for me at least) is “How Would I Know”, where rhetorical questions are halfheartedly asked as pieces of sound float on by. The song gets stuck in your head and will never leave. It sounds like a pop song heard while asleep, just perfectly dreamy and almost graspable.

                In case you wondered whether or not they were dedicated to the 80s, or if you needed more evidence, there’s the song “Berlin Baby”. Your confirmation has arrived, the cheesy drum hits and Germany-coolness worship is complete. Things end with the vaguely upbeat “So Unreal”.

                Not Not Fun Records did a great thing with releasing this. Listening to this, I hope they decide to do it again.

Chris Weisman – Bicycle Operator and Coach 8.7

Chris Weisman easily could be the poster child for the slacker generation. Content with twiddling around with guitars, making surprisingly excellent music with opaque Beatles references, he doesn’t care whether or not he’s popular. Besides recording these lo-fi gems, he works part time as a guitar teacher. This is just a warning so you know what to expect.

Hailing from the ultra-liberal bastion of Brattleboro, Vermont, he records without any concern about popular trends. If you don’t remember, Brattleboro impeached Bush and Cheney which was clearly effective. It has a wide array of people of many political persuasions, including Liberal, moderate liberal, very liberal, ultra-liberal, and one guy who’s a Republican and really quiet about it. I mention this because some of his songs harp upon his politics, but without being horribly overwhelming about it.

Musically, he comes across a bit like R. Stevie Moore. Similar to Mr. Moore, he sometimes uses volumes and mixing that might not always make sense (like the snare hit on “O.K.O.T.F” or, better yet, the weird jam of “Doubling You” which gives off heavy hints of R. Stevie Moore’s madcap hi-jinks).  Like Mr. Moore he uses the lo-fi not as a cloak but as just a way of getting his point across.

The quieter songs tend to work better. “B.O.A.C” is a particular favorite of mine. Its meditative nature alongside a sincere love of the subject matter makes it a winner. Though it is a bit unconventional to start an album out with the longest song, this offers a lot of soul. “Rag Bus” works well and shows off his similar tasteful arrangements. I particularly enjoy the “I live in the dead bodies of SUVs/I’ve forsaken every modern disease But I’ve in love with the world/So be nice to me please”. His voice is sweet enough to make that unusually touching. Mixing the surreal musings with sincere care is a bit hard to pull off. 

He never goes too far into sentimentality with this. Apparently his music completely lacks any of irony and he genuinely loves each piece he’s written. Even though the music moves slowly, it never feels like it drags. This is perhaps the most authentic guitar player you’ll hear for some while. Hopefully he someday decides to release more and come out of his shell.

Nerve City – Sleepwalker EP 8.0

Whoa, I never enjoy EPs this much. Music releases in general usually involved some sort of fat to be trimmed, or the expectation that at some point the musician will skimp out on that indefinable quality known as “good”. Here we have one of those few releases.

Right from the get-go, it sounds Lo-Fi. I know that term gets thrown around, like a gimmick for bands to hide behind. Like “Oh, we’re lo-fi, it doesn’t have to be catchy.” Nerve City didn’t get that memo, it sounds like pure infectious pop. As I listen to it, it delivers on the promise bands like The Black Lips guaranteed us, only to give it to us periodically.

“Sleepwalker” is such a sweet, sweet track. It is a great beginning, so great that I wondered whether or not the rest of the EP lived up to that expectation. Would the lyrics be as interesting, or the melodies as infectious? Actually yes would be the answer.  

“Armory” removes some of the dreamy quality for a big stomp with a serious Western twang. Think of an acid cowboy movie soundtrack and you are there (looking at you Jim Jarmusch’s “Dead Man”). And “Runaway” sounds beyond lo-fi, like some re-discovered blues track from the early 30s.

I’m shocked they come from Miami. First Iron & Wine, then Jacuzzi Boys, if I didn’t know better I’d say there’s an undercurrent in music which works against its environment. Rather than take the easy approach and just accept how tacky Florida can be, they look for the authentic. Nerve City do this to a tee. Below is a delightful link to some of their youtube videos. Enjoy!

Nerve City 

Worried About Interpol (Fin)

Those of you paying attention may remember my worry about Interpol.  I wondered whether or not they could withstand any further criticism or shrivel and die. Upon reading the reviews online, I have my answer from all sources.

B. Their slow certain march to oblivion continues.
C. Whoa, this is dreadful. No longer can they show their faces in public, they hide in a basement and discuss what life is like after sucking (get help from the Strokes to deal with Post-Cool)

Sadly, it looks like a little from column B and a little from column C.  Pitchfork gave a vicious, brutal review, stating that they sounded burned out and unsure of themselves. They mentioned the latter half of the album being a colossal wreck with little redeeming, and said even the beginning wasn’t very good.

Tiny Mix Tapes, though it gave a similar score, still stated it was better than Our Love to Admire. So they gave it an actual upgrade, stating that this was an improvement but they need to try harder.

Other reviews seem to be forthcoming, possibly waiting to fully absorb the music into its skin.

From what’s out there, it sounds as if Interpol missed its mark. Maybe mope rock just doesn’t have the same staying power it did several years ago. Now we’ve moved onto newer, more nostalgic genres. These genres that we’re told are cool and make us look “with it”. I’m talking about buzz, fuzz, chill, low fidelity, etc. All of those terms just mentioned add points onto your score, not the boring ones like Arena Rock, Indie, Post-Rock, etc. Any references to those latter words automatically force the band to try that much harder to overcome the burnt out feeling so many have towards them.

For what it is worth, Pitchfork did many hatchet jobs that day, also panning a Blonde Redhead album. After a heady summer of promoting summer bands, they realize that a clean break with the past is needed. So those bands they previously fawned over get lower ratings than they would have otherwise. Even keeping in mind that realistically not all of those bands will continue churning out endlessly good products (duds happen) it seems like Pitchfork does tend to cut itself loose as soon as a popular buzzword begins attracting too much scorn and derision among the cool kids.

Pity.