Category: Reviews

The National – High Violet

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Rating: ★★★★½

When this album first came to me I must admit that it was not as immediately as enticing as I had hoped.  Steady listening rotations slowly worked this album into the expected experience that I had hoped for from The National‘s High Violet.  While I’m not coming out to say that this is the band’s best work (time will tell friends), I’ll admit that their continued growth and attention to details makes the group unstoppable, as they put out records that continue to be played on repeat at my house, and that of all my close associates.

“Terrible Love” begins rather slowly. sneaking its way to a catastrophic end of sonic force.  Matt Berninger’s vocals really are something other worldly, as demonstrated here; it’s as if you’re listening to your father or grandfather tell a story of his trials and tribulations, as demonstrated by this opening track.

Early press discussed the darker dimension of the album, and you can get that feeling, even if you went by the track titles alone.  But, songs such as “Sorrow” and “Anyone’s Ghost” indicate that something went missing in the life of the narrator, which we can assume might be Berninger himself.  It’s all very melancholic, and is increased by the baritone vocal quality, but the darkness is what makes this album so striking, like everyone’s favorite lyric from “Conversation 16,” “I was afraid I’d eat your brains/cause I’m evil.”  It’s interesting trying to decipher between singer and narrator, as clearly these are the dark times of love for one of our two heroes.

While a lot of the praise for The National‘s dynamic is always given to the Dessner duo, this album clearly demonstrates the power that Bryan Devendorf wields in the band.  Whether it be his machine gun snare hits, his cymbal work, or his precision drum fills, he is the one piece that continues to amaze as you listen to High Violet (“Mr November” anyone?).  Still, one of the strengths of the band does rely upon the Dessner’s usage of varying dynamics, even those that are most subtle.  For instance, there’s a moment in “Little Faith” where everything seems to empty out, albeit very briefly, before going back into the song.  Such attention to detail is used time and time again like the accompanying strings in “Afraid of Everyone” that eventually meet up with a little discordant guitar; all this happens before the number even sets off entirely.

You continue through this collection of songs, and each song strikes a different chord within.  “Bloodbuzz Ohio” is probably the most straightforward rock song on the album, but you can’t help but feel the alienation in the song as Berninger croons that “Ohio don’t remember me.”  Once again, the loud-soft dynamic, even used for just one phrase, makes the lyrics, and the song, hit some sort of nerve for the listener.   And you can juxtapose the rock element with a song like “Runaway” that seems to sort of ebb and flow in the middle of the song.  If it weren’t for the subtle touches and vocals, this could very well fall under some folk realm, and yet the song seemingly climbs to a climactic point that it never quite reaches, forever holding back, holding you, the listener, back.

In its closing statement, High Violet, finds Matt really pushing his vocals, yanking every bit of emotion he has left out of his larynx.  As always, the group never fails to make a grand sweeping move with their closing moments, as echoing vocals join in here, you find yourself lost in the emotive qualities of the band.  This is precisely what makes The National one of the best bands around these days, utilizing every little nuance to craft the most emotionally taxing and bewildering music you’ll find, then begging you to come back and listen all over again.

[audio:https://austintownhall.com/wp-content/uploads/2010/03/The-National-Bloodbuzz-Ohio.mp3]

Download: The National – Bloodbuzz Ohio [MP3]

Flying Lotus – Cosmogramma

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Rating: ★★★★☆

In the vast, deep of night, we peer into the cosmos searching for answers to all of life’s questions. For innumerable years, humans have gazed to the stars. Some receive answers. For producer and beat-maker Steven Ellison, (AKA Flying Lotus) rooting deep in the earth, peering high into the sky, and becoming one with the universe is the modus operandi on his latest full length album Cosmogramma. Those unfamiliar with FlyLo, may have unwittingly heard some of his first work as a beat-maker during Adult Swim’s commercial changeovers.  These ambiguous and quick bass-heavy sketches built a massive fan base for which Ellison would leap from his rather innocuous 2006 debut full length 1983 and find great critical acclaim in his Warp debut, 2008’s Los Angeles.  

On his latest, his influence is taken mostly from his personal relation to his great-aunt, Alice Coltrane, from whom the title of the record is taken. The late Alice Coltrane was a jazz musician in her own right in addition to being known as the wife of Saxophone legend John Coltrane.  Flying Lotus uses these family bred jazz influences in very subtle ways in his beat-making scenarios while combining sublime live instrumentation from a global laundry list of talented musicians to create a soundtrack which is simply out of this world. If Los Angeles was his ‘Dr. Strangelove’, Cosmogramma is his ‘2001: A Space Odyssey’.  

From the first bass hits of ‘Clock Catcher’ the listener is shot into the atmosphere with the addition of Rebekah Raff on harp. The playfulness between the smooth, tender harp and the sharp, rigid bass is just a taste of what FlyLo does best. His production style has evolved over the past few years, but creating dense, layered tracks is becoming second-nature. From here into the bass heavy, jazz improv ‘Pickled’ with former Suicidal Tendencies bassist Stephen “Thundercat” Bruno putting down intricate bass lines. ‘Intro//A Cosmic Drama’ is the record’s first influence of vocals, with Niki Randa providing the choir-like voice over a beautiful string arrangement from the very talented Miguel Atwood-Ferguson. The vocals are subtle, but are very effective in giving the overall tone of the track a celestial sense.

Most casual listeners may have heard the single ‘…And The World Laughs With You’, no doubt a highlight for many. With the addition of Thom Yorke’s vocals, FlyLo creates an Eraser –esque vibe, though it’s short-lived and doesn’t settle on the vocals in a manner of Yorke’s 2006 release. Similarly, Ellison never dwells too long on any particular thought process. The tracks on the album average just under 2.5 minutes, but there’s no lack in substance throughout.  The list of collaborators continues with ‘Arkestry’ utilizing relative Ravi Coltrane on sax, giving the record its first true jazz sensibility, and no doubt an ode to his Aunt and his family’s jazz lineage.  Jumping ahead to ‘Satelllliiiiiiiteee’, which is a funky groove and by ‘Recoiled’ a dense, hard hitting track, it’s obvious that FlyLo has mastered his craft and created his strongest release to date by far.

As a listener it is important to not pass judgment after first listen. It’s the kind of record that will not immediately hit you due the subtly and denseness of the layers, but repeated listens are well worth the effort.  The record as a whole flows like a single track, much in the same manner of Prefuse 73’s ‘Everything She Touched Turned Ampexian’, though the record feels to end in a more abrupt manner that I would have expected.  Overall, however, it is still one of the best, far-reaching musical journeys of the year. Expect much more notoriety and critical acclaim in the future for Flying Lotus if he continues to produce in the same manner, focusing not only on the beats, but the composition of instrumentation as well. 

The New Pornographers – Together

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Rating: ★★★★☆

After the release of Challengers it seemed like people were ready to disregard The New Pornographers altogether.  Poor reviews for an album couldn’t keep this band down though, as they’ve returned with their fifth record, Together. It stands in the same ground as a great deal of the rest of the last record, but it pushes the rock element a little bit further, brightening the sound a bit, just making things louder overall.

Opening moments on “Move” have that shredded guitar sound you’ve come to expect from an AC Newman penned song, but with a little strings to match the top of it all.  Throw in the bounce and those pop-perfect vocals (girl harmonies thrown in for good measure) and you’ve got a great opening track.  But, you get the perfect mix when you move into the next tune, “Crash Years.”  It’s fronted by the female force this time around, though the jangly guitars and orchestral accompaniment aren’t anything to shake a stick at.  Then you find yourself at “Your Hands (Together),” finding the band employing all their old tricks.  A rolling drumbeat, guitars strumming off beat, and the combination of male/female vocals.  Together starts out great, and it doesn’t seem to slow down.

However, the band switch gears a bit by going to a Dan Bejar penned number.  He’s written three songs for this record, and each one is remarkable in its own right.  Not sure if it’s Bejar’s odd vocal delivery, or just his craftsmanship, but his songs always stand out in The New Pornographers sound.  “If You Can’t See  My Mirrors” is probably the best of the three Bejar tracks, using some brilliant swirling guitar melodies to balance out Dan’s vocals.  The light female vocal beneath his adds a perfect touch as well.  Don’t skip out on “Daughter of Sorrow” as it’s reminiscent of Dan’s work with Destroyer, but instead of him working solo, he uses the posse at hand to expand his own distinctive sound.

While the album does slow down a bit right in the middle, it’s not entirely a detractor.  Perhaps the sequencing comes as a bit of a shock, as you can find better places to fit these quieter moments, but “Sweet Talk, Sweet Talk” and “My Shepard” showcase the band’s ace in the hole.  Female vocals have long been a part of the groups dynamic, and they come into perfect play in the middle of this album.  Fans of Neko Case and Kathryn Calder will appreciate the fact that the girls get to carry their own weight for a sustained period of time.

One of the strengths of the band, and Together, is that they seem to have returned to uniting all their forces into one cohesive product.  “Up in the Dark” is a powerful song, using the dual vocal approach, and a stomping rhythm to move it along. Even when the song takes turns for the swirly pop moments, you can’t help but feel that this is the band at its best.  While “Valkyrie in the Roller Disco” might seem a bit odd, really just using the vocal approach of the band to make its point, it really is a good song, though it might not fit that well with this collection.  So they close it with “We End Up Together,” making the perfect statement for the album’s closing.  Everyone seems to play a part in this song, fitting the whole band, well, “together.”  Seeing such sentiment makes you appreciate the effort on Together all the more, and it demonstrates to us all that as long as The New Pornographers put in all the pieces, they can create great records just like the one we find here.

[audio:https://austintownhall.com/wp-content/uploads/2010/02/new_pornographers_your_hands_together.mp3]

Download: New Pornographers – Your Hands Together [MP3]

Secondhand Sureshots – CD/DVD

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Rating: ★★★★½

Do you ever have that romantic image of walking into a thrift store or Half-Price Books to rummage through the old vinyl and finding a true hidden gem? Every time I go into a record store I think this is the day I find the one I’ve been looking for. Well, for some, they turn the left over scraps of vinyl records into gems. Such is the story of Secondhand Sureshots; putting new life into old, unwanted vinyl. This is a collaborative mixing project from Dublab and Stones Throw, which gathered together some of the most prominent beat-makers in the US (if not the world) for a fun, spontaneous, collaborative beat making project.

The rules are simple. 1.) Each DJ gets $5.00 to buy 5 records of his choice. 2.) No additional instruments. The players in the game include J.Rocc, Daedalus, Nobody, and Ras G; each with their own unique style and flavor to bring to the table. They also exhibit different approaches to cutting and splicing; their wide ranging taste in music which adds to the intrigue of the final product. The set comes with a CD of the final mixed tracks, but the DVD is worth the cost alone. Over 2 hours of footage on the documentary shows each DJ carefully selecting their 5 records with their method and reasoning behind the selections. One thing is for sure, there is no shortage of Barbara Streisand (you’ll see what I mean). Once each man makes their picks at 4 different L.A. based thrift stores, it’s off to the studio for the magic to happen and a first spin of their random dusty vinyl.  The facial expressions as they listened to their records for the first time, trying to decipher what they can use and what is total crap, are priceless. Also, it is interesting in watching the way which each of the men worked and their systems of chopping and laying down beats.  

What’s truly inspiring is the finished product. From 5 “craptastic” records emerges top quality stuff. You would never have guessed where the original pieces came from. Consequently, the final pressed remixed albums were redistributed in beautiful re-purposed album covers with ninja-like precision. There they will wait to appear as a hidden gem for the next vinyl bottom feeder searching for that treasure.  This is a very entertaining set and I highly recommend checking it out for yourselves. We, in Austin, have a special treat in store for us as tonight at the Alamo Drafthouse Ritz.  The documentary will be played with Ras G to perform live. This is not to be missed if you are a fan of the electronic genre or if you enjoy spontaneous beats.

Broken Social Scene – Forgiveness Rock Record

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Rating: ★★½☆☆

It’s been a good five years since we’ve heard from Canadians Broken Social Scene, and with their return, news comes that the large entourage has dwindled to a merry band of six (now with even more guests!).  How would the departure, or lack of involvement of key members, play out on the band’s new album, Forgiveness Rock Record?  Honestly, this album will be a divisive one, at least it looks that way now.  Some will find they love it from the start, while others (like myself) will be reluctant to completely disregard it due entirely to the band’s back catalogue and the ridiculous talent pool still intact.

By now you’ve all heard “World Sick,” but in contrast to the rest of the album, it feels really as if the song was sort of phoned in, for lack of better wording.  It appears as if the band, unsure of their identity as a six piece, fell upon common ground from days of old, in hopes of establishing their footing.  You’ll find the crashing percussion, though it seems a little bit cleaner, and the swelling vocals during the chorus.  Sorry, but you’ve done it better.  Similarly, the following song, “Chase Scene” has this driving electronic feel, but for some reason, it lacks that emotional release that made the band so enchanting.

Opening moments of “Texico Bitches” build great possibilities, relying upon the great guitar hook and Drew’s vocals to draw you in, and while that hook remains, it gets buried in the rest of the textural elements, such as string instruments, that are piled onto everything here. Still, this is the first song I think I really enjoyed, which is more than can be said for the following tune “Forced to Love.”   The vocal delivery is enough to turn you off every time, and all the guitar chords cutting through the song just get on my nerves.  Throw that in with the chorus, that once again seems like re-using something from the closet, and this is one of the more disappointing moments on Forgiveness Rock Record.

When I came across “Art House Director,” I wasn’t really sure where to find this song.  It’s full of horns, and it sounds a lot more like they’re channeling a bit of Guided by Voices, but as you listen to this song more, this is precisely what you wanted the group to do.  They’re throwing something entirely new into the mixture; it feels fresh immediately, yet still remains a since of smooth pop that the band tends to evoke.  Throw this in with “Ungrateful Little Father” and you have the band going places where they haven’t gone before, so you get excited.  The latter song uses Drew’s vocal as the focus, then throws in the pop instrument collage, crafting careful cacophony.

Those looking for old friends will find their joy in “Sentimental Xs” as Emily Haines of Metric makes her appearance.  Her coy little voice seems to float atop the song, as layer upon layer continues to build.  There’s electronic blips, percussion, feuding guitar lines. and despite being a good song, it doesn’t explode where you want it to, instead it remains sort of reined in to the album.  You’ll echo these exact sentiments the more you listen, waiting for the classic sound of Broken Social Scene to pop its head out.

Here’s the thing with this album: it doesn’t ever quite deliver.  I will admittedly agree that there are moments of brilliance, creativity and such all over this record, but they don’t ever seem to come together.  In the past, you always felt like no one in the band was in control, that they could release furious pop on you at any moment.  Here, Broken Social Scene seem to have gotten a bit more cohesion with the group, but in doing so, they’ve made their sound less dangerous and a little watered down.  Perhaps I’m just jaded by personal relationship with past records, but isn’t that the case with this band?  Don’t you just love that one record, that one perfect song?  You do; you know it, and I’m positive that in my world, Forgiveness Rock Record just doesn’t hold water to those moments.

[audio:https://austintownhall.com/wp-content/uploads/2010/05/06-Art-House-Director.mp3]

Download: Broken Social Scene – Art House Director [MP3]

Mynabirds – What We Lose in the Fire We Gain in the Flood

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Rating: ★★★½☆

After D.C. duo Georgie James disbanded, the two members went their separate ways. Singer/songwriter Laura Burhenn found herself attempting to discover herself from behind the space of former band mates John Davis’s shadow. On her solo album, What We Lose in the Fire We Gain in the Flood, Burhenn’s voice soars like a bird from the onset and it’s obvious that she’s feeling a sense of liberation after James’ demise. After first listen it’s obvious that the former duo was not letting her fulfill her potential.

It’s fitting in fact that the opening track, “What We Lose In The Fire” is a tune about rebirth and reemergence. With quality backing rhythms by Richard Swift, Burhenn is reveling in her new-found freedom. With the help of producer/instrumentalist Swift, here we find a performer at her most-relaxed, creative state.  The tracks found here are simple and display a timeless quality of folk echoing the likes of Patsy Cline and subtle gospel touches of Neil Young. “Numbers Don’t Lie” is a highlight of the release and shows Burhenn’s whole range of vocal skill; which is ample.

“LA Rain”, another good choice for a single is a wonderful moment for the listener to hear her undeniable talent opposite Swift’s penchant for simple yet catchy hooks. “We Made A Mountain” utilizes a horn section with a very Motown beat in a playful tune reminiscent of Duffy, though much more easy on the ears, making it one of the highlights of the release for me. She slows things down directly following with “Right Place” and the final track “Good Heart”. The latter displays the most obvious feeling reminiscent of yesteryear.

As a whole the album is tight and soulful, showing many tricks in Burhenn’s bag, but I foresee many more tricks up her sleeve. Here, it’s a focus on the past, but there’s no doubt she should be looking forward to a very bright future. 

Gogol Bordello – Transcontinental Hustle

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Rating: ★★★½☆

Gypsy rockers extraordinaire Gogol Bordello moved to South America in search of inspiration. What emerged is the group’s latest and 5th studio release Trans-Continental Hustle.  As hard as it is to capture the pure unadulterated mad essence of a GB live show, this release comes as close as you can get. It’s angry and loud and more than anything excites me for a hopeful reprise at ACL this October.  This is festival friendly music and after blowing me away on the great lawn in 2008, I hope they return with the raw energy of their live show and the addition of wonderful South American accents in full swing. Indeed, they come back stateside with 2 additional members; Pedro Erazo, an Ecuadorian percussionist and Thomas Gobena, an Ethiopian bassist.  As Gogol Bordello plays havoc on my spell-checker, the music pummels my speakers. There’s no other way to enjoy it; the louder the better.

Undeniably, they prove this right off the bat with the opening track ‘Pala Tute’. It is vintage, blasting accordion and violin along with the ever present howling vocals of Eugene Hütz. Next, “Immigraniada” is a raucous ode to the immigrant lifestyle and I can’t think of any band that convincingly covers the topic better. The listener doesn’t even have to make it half-way through the release to realize what kind of trip the band is taking them on. There’s no secret to their success. It’s just full-frontal, unmitigated, sweaty authority. There is no better dance number on the release than “Uma Menina Uma Cigana”; where Erazo’s Latin percussion influence shines through Hütz’s raspy vocals. The resulting vocal track is as angry as ever, but the music shows some subtlety, which was obviously something they sought after when moving to Brazil.

As much as I tried to stay focused on writing, I couldn’t contain myself and had to dance like a mad-man during “In the Meantime in Pernambuco”. The group has concocted a recipe for exhilaration and while listening there is no way out from under the control of their spell. This segueing nicely into “Break the Spell” with a different nearly hip-hop-esque rhythm in some spots, though they never stray too far from the up-tempo Gypsy punk they know so well. The title track, “Trans-Continental Hustle” finishes off the record with a Hütz guitar/vocal solo before the band thrashes into more vintage gypsy punk.

Following up 2007’s Super Taranta! was no doubt a difficult task for the group and a tricky situation. If they continued the route they took, they run the risk of falling into a monotonous trap. On the flip side, they could not stray too far from what has gained them so many fans in the first place.  Luckily for us, the group varies their sound just enough to keep it fresh and interesting. Followed by no-doubt extensive touring, Gogol Bordello should pick up many more fans with Trans-Continental Hustle. C3, bring them to Austin!

Avi Buffalo – s/t

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Rating: ★★★★☆

Eventually you run across something unexpected and bewildering.  Such is the case for Avi Buffalo, who have released their self-titled album on Sub Pop.  The band originated with a kid in Long Beach named Avi who gathered his friends together, creating one of those albums you vaguely remember hearing about, but are bound to come across again and again in the next few years.

You have to wait almost an entire minute before you get to meet the band on opener “Truth Sets In,” but the warm gang vocals, and the odd harmonic guitar picking create a respectable opener; it’s not entirely overbearing, just an assuming number serving as a brief introduction to the band before they kick your teeth in with elation.  And you’ll soon be blown away by “What’s In It For,” the following song.  Something about Avi’s falsetto resembles the early Shins recordings (also on Sub Pop), and as you listen, you sort of get the feeling that Avi Buffalo will be one of those albums just like Oh, Inverted World that grows and grows until you have to listen to it once a week for the rest of your life.

You can feel all sorts of influences on this record, which is not a big surprise from a young artist such as Avi. “Five Little Sluts” begins with a bit of homage to Belle and Sebastian before it ambles down its own path.  “Jessica” pulls out some vocals reminiscent of David Vandervelde.  Even with the allusions to other artists, these songs take on a life all their own, making the entirety of the album familiar, all the while establishing the band with an original sound to which only they can lay claim.

“One Last” mixes up the game, using a female vocal to add a different texture to Avi Buffalo. It’s a playful folk song utilizing a bar-room piano sound to give the song a little pace.  It’s not the only number here that shows the range of the group, as the bedroom quiet of “Can’t I Know” adds yet another approach for the group. But, just as you thought they’d get all quiet on you, the band brings out “Remember Last Time.”  This pop gem has great vocal performances and clanging guitars that will ring in your ears for hours, and that’s really all you can ask for, right?  It might drag on a bit too long in lieu of a slight jam, but you can’t take that away from the opening moments of the track.   Then it all closes again with the dual vocal approach of “Where’s Your Dirty Mind.”  Gently strummed guitars and piano create the skeletal backbone of this one, but the vocals are the most endearing element of it all.  Rebecca Coleman has an angelic voice that will stay with you even when the song (and album) end.

It’s interesting listening to this album.  It has flourishes of great beauty, as well as moments of sprawling pop, yet it all sounds like a concisely constructed album geared to let the songwriting speak for itself.  While at times Avi Buffalo seem a bit unfocused, as if they’re unsure of their identity, what you do get is a young band who have an extremely bright future ahead of them.  If this album is anything, its a breath of fresh air in a lo-fi world, and one that just might make the long haul in your record collection.

[audio:https://austintownhall.com/wp-content/uploads/2010/04/02-Whats-In-It-For_-1.mp3]

Download: Avi Buffalo – What’s In It For [MP3]

The Lodger – Flashbacks

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Rating: ★★★★☆

Leeds’ band The Lodger have released two albums to date, those being filled with angular guitar knives and steady drum beats.  Not keen to repeat themselves, the band changed it all a bit for their new album Flashbacks.  While it certainly retains a certain sense of familiarity for fans of the group, you’ll find a bit more exploration in regards to the overall sound of the band.

With the band’s first single “Back of My Mind” you get the sense that singer Ben Sidall is, as usual, always contemplating the state of his relationships, or his life as he states “I fall to the ground and say/I’m lost in the back of my mind.”  Thematically, there’s a bit of stasis here, but the song itself is about as dense a song as the group has writtern; it’s as if the song is wearing some sort of grey (not gray since they’re British) sweater.  All in all, it’s a step to the side of minimalist pop, keeping the band’s personas while searching for new ground.

Stylistically, “Have a Little Faith in People” and “Time to Wait” return to hallowed ground, but even then the band is building their sonic palate, adding tiny flourishes that you might not pick up on, but definitely add to the sound.  Horns are used atop the hooky guitar chords in both songs, as are female backing vocals listed only as Sarah and Georgia. All these miniscule moves remove a bit of the energy, creating a layer of warmth that does indeed alter The Lodger on this record.

This album’s title track has quickly become one of my favorite tracks as I’ve listened over and over again.  It’s such an understated quiet number, utilizing the additional string elements in the beginning of the track.  While it does come off as a bit of an elegy to a loved one, the emphatic climax of the song, coming off somewhat like a Jarvis Cocker revelation, seems to show Ben moving on from this loved one.  A gorgeous closing minute and a half of the song is begun by a melancholy trickling piano just before the horns come in, as if to rejoice at life’s progress.

Whoever this girl is surely did a number on Mr. Sidall.  “Lost” tells the story of a narrator nervous about losing his girl, eventually  hoping she’ll let him go, as she’s left him lost in some confused state of mind.  Once again, string arrangements really bring this song home, adding more depth than one would normally except from this band (no offense fellas).  Still, the girl’s memory pushes on in this collection, encouraging Ben to lose himself once again in “Nothing’s Impossible,” which is probably the song that most resembles the band’s previous work.

It’s hard, as a fan, not to be in love with this record entirely, but it really is a solid piece of work.  While the jangling guitar hooks and precision percussion remain, they’ve added more to fill out the sound of Flashbacks.  Using horns, strings and female vocals to add a little contrast has created a gentle album eager to fill your days with innumerable amounts of listening pleasure.  It’s consistently good, listen after listen, making me (and you I hope) fall in love with The Lodger all over again.

[audio:https://austintownhall.com/wp-content/uploads/2010/04/The-Lodger-The-Back-Of-My-Mind.mp3]

Download: The Lodger – The Back Of My Mind [MP3]

Caribou – Swim

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Rating: ★★★½☆

Remix artists rejoice! Daniel Snaith is back and he brings with him a fresh palette of sublime beats for you to disassemble. Continuing to add to his extensive discography, his latest Swim was just released via Merge Records, his first full length since Andorra, released in 2007. Snaith, hailing from Ontario, utilizes a full band on the record, and the product sounds like a digital and electro production alone. In fact, it’s stunning what kind of layering Snaith accomplishes using traditional instruments like soprano sax, flute, and trombone.

The opening track “Odessa” is a good intro to the record and holds one of the more catchy bass lines. The tambourine throughout is sometimes distracting on first listen, but quickly fades as your ear dissects different angles. Immediately upon the first listen, one thing is certain. This is party music. Straight ‘get off your ass and dance’ music. Actually, it’s the best kind of party music; the type that sneaks up you. You know the feeling; the party is still young and you want to make it a little livelier. This is a good scenario for Swim. It’s the kind of music that doesn’t dominate the room, but politely sits in the corner, simmering like Boeuf Bougiuignon. When you least expect it, you find yourself tapping your foot or nodding your head. That’s right where Snaith wants you. He plays with moods in the simplest way possible, but it’s nothing flashy. Think Ghostland sans Capes; but with harmonies instead.

The next track “Sun” shows a more melodic side than the opener, but continues the simple electro beats. The rhythm builds to a vast crescendo, and if you don’t move at least some part of your body during which; you should probably check your pulse.  For all I enjoyed on “Sun”, “Kalli” quickly brought me down. It is perhaps the most intrusive track of the album, like a jazz improv going horribly wrong. Maybe I don’t understand the nuances of Caribou, but this was like fingernails on a chalkboard to me. Luckily, “Found out” gets the groove back with some of the best songwriting on the release.  “Bowls”, the longest track on the album has showcases disharmonious chimes played against harp strumming. It’s an unusual instrumental, but that segues into a stripped down beat that might have you looking around the room thinking you tripped over a cord and unplugged a speaker. It’s not the catchiest song on the album, but here Snaith shows off his ability to layer every sound imaginable into a somewhat literate dance number. For me, I’ll stick to the vocal tracks.

“Leave House” and “Hannibal” get the party vibe back, as Caribou channels his inner Hot Chip on the former. And as always, you can always add more cowbell as heard on the latter. The shortest track “Lalibela”, could be considered transitional, leading into the final track, but in its own right, it is a gem.  Finishing on a very strong note, no doubt my favorite track on the album “Jamelia” is sublime. The subtlety, the beat, the vocals, the instrumentation; it’s like a difficult jigsaw puzzle and you just found the last piece. It builds to a massive extended crescendo before trailing off slowly. For me, it quickly prompted a second listen to the album as a whole. I can’t say that about many release so far this year. Overall, it’s a short release, but it shows what Snaith does well in no uncertain terms. It’s straight forward, but dense, utilizing layering in unique ways.  Next time you have a party, be sure to grab this one.

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