In our standards-slashing age of D.I.Y.W.Y.M.B.P. (do it yourself with your MacBook Pro, natch), craft — from multi-instrumental arrangements to crisp recordings — deserves more attention than ever. That’s not to say Raleigh doesn’t bring the songs on its debut album, New Times in Black and White, but it’s the sound that you’ll revel in. The Calgarian band draws on the influences of its countrymen: Owen Pallett-esque strings run parallel to Arcade Fire-edgy electric guitars, while Matt Doherty’s brisk percussion would be at home in Broken Social Scene or the defunct Sea Snakes. Unique to the band are the harmonies of Clea Anaïs and Brock Geiger, whose voices twine together like blue and red strings. The pair’s efforts are bewitching in the folk lament “Murderer”; the Geiger-led “Godspeed” is a standout ballad, while Anaïs’ syncopated “Marrow” is the closest the group comes to pop bounce. At times, the band seems unsure of where to take its compositions, but with music this vivid, the journey’s the destination. Hear the album in full after the jump. Read the rest of this entry »
“My Heart,” the Swedish Sufjan Stevens’ first single from the October-due Hall Music, finds Loney Dear turning a little New Age. Though the rush of strings and reverb-drenched guitars are still soaked in the somber feel of 2009′s Dear John, the sentiment is decidedly sweeter: “No sadness / no disappointments / no tiredness.” Lest you think he’s turned into Deepak Chopra, Emil Svanängen’s vocals grow bold, even heated, a contrast that keeps the song from lulling you through a guided meditation. (A friendly reminder: Loney Dear’s 2007 effort, Loney, Noir, is still a stone classic.)
If you, like me, found the National’s High Violet falling just short of the band’s past classics, you might have skipped this year’s one-offs: “Think You Can Wait,” from the film Win Win; and “Exile Vilify,” recorded for the video game Portal 2. But they’re worth tracking down. “Exile Vilify,” the better of the two, improves on HV with a sardonic piano melody and a swelling string section — the sort of Boxer-ish arrangement that was stripped back on their more recent effort. “Think You Can Wait” is more in line with HV and its towering sadness: “I was drifting, crying,” Matt Berninger sings to open the song, but the music’s meticulous slow build (and the Sharon Van Etten guest vocal) rewards careful listening. Get both tracks on your digital outlet of choice (I bought ‘em on Amazon).
With his Vampire Weekend covering days behind him (?), Ryan Adams’ next record will be the Glyn Johns-produced Ashes and Fire, per a new Q Magazine interview, on his own Pax-Am label. Judging by the intimate performances of his recent solo tour, Stephen King’s going to love it. No release date yet, but I’ll obviously keep you posted — DRA’s playing a Seattle show in October, which hopefully means more fall/winter dates, too. Unfortunately he says he’s “decided not to share” any additional output for the moment, which means we should keep crossing our fingers for an archival box set before the Mayan apocalypse.
Here’s everything that happened in July on ye olde Rawkblog: new jams, best-of lists, videos, etc. I also joined Spotify and made a couple of ongoing playlists: Ongoing 2k11 Jams and The Canon, Examined. Follow ‘em!