New Music Review: James Pants “James Pants”

One man band James Pants starts off his self-titled third album with “Beta”, a quirky blend of psychedelia-inspired electro, disco, calypso and chillwave mixed with West Coast lo-fi garage rock. Think of blasting Wavves, Battles, Washed Out, Black Moth Super Rainbow and Devo all at the same time, and instead of sounding like a harsh noisy mess the effect somehow works and is able to fetch the listener’s attention.

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“Every Night” expands the opener’s chillwave sentiments. Random blips and bleeps resemble sampling an array of ocean-oriented birds. Pants sprinkles that over a blend of clean tone guitar with slight reverb, a bass line from a mildly distorted synth and whatever-the-hell-else-is-going-on-with-the-keyboards.

A pattern comes to light through most of the album. On some songs (especially “A Little Bit Closer”) the listener could start feeling taxed with the stuffy approach. Sections of instrumentation, though minimal, become a bit too much to process. However, just as the swell of strange noises is about to reach a breaking point, dreamy moments surface, like those on “Incantation” and “Dreamboat” (duh).

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Overall, James Pants may run the risk of feeling silly and untidy – imagine trying to funnel thirty gallons of chocolate pudding through a bendy straw. But when things are thinned out and simplified, like on super sweet and catchy “Darlin’”, the album becomes more digestible to unfamiliar ears. However, as with anything that makes you feel strange or forces you to think outside the box, you have to consider, that may just be the point.

James Pants was released May 3, 2011 via Stones Throw Records

Music Archive: Godley and Creme “Cry”

So, I was up late with my Chef Cousin Rick. We recently hooked up some rabbit ears to my other cousin / roomate’s HD television. This video from Godley and Creme for their 1985 single “Cry” came on this random crappy music channel and cracked us up. I was unaware that GAYNGS was on top of this hilarity almost a year ago. Apparently I’m out of the loop as far as Godley and Creme covers are concerned. Regardless, if you haven’t seen it or haven’t seen it since 1985, watch it again.

Via Wikipedia:

“Cry” is a song released by the British music duo Godley & Creme in 1985.The duo also directed the song’s music video, which featured faces blended into each other using analog cross-fading, it has a visual similarity to an earlier video by the Australian group The Reels “Shout & Deliver” (1981), both anticipate the digital effect of morphing used in a very similar way in Michael Jackson’s 1991 video, “Black or White”.

New Music Review: tUnE-yArDs “w h o k i l l”

I can remember seeing Merrill Garbus open for Dirty Projectors a couple years ago. At that time, she was only rumors to me. I didn’t know what to think of this new musician – a huge benefit to anyone infiltrating the indie music scene. Garbus, aka tUnE-yArDs, was pounding on a floor tom hooked up to a Shure 58 loop station plugged into a Fender Blues Junior amp. Stylistically, tUnE-yArDs is a blend of Motown, Rasta, Dance Hall, lo-fi folk and R&B. Odd and quirky but empowering, w h o k i l l, via 4AD, is a stark contrast from the norm, making it hard ingore. Somewhere in the middle of Mahalia Jackson, M.I.A., The Dell Vikings and The Raincoats, Garbus creates an expansive atmosphere with a bare bones DYI attitude that is as endearing as it is effective.

“Gangsta” blends multiple layers of vocal and drum samples. It’s grimy, messy, addictive and infectious. “Powa” starts off with tastefully executed ukulele plucking amalgamated with Garbus’ distinguishable vocal approach. A slightly gritty guitar comes in and the song expands. Garbus nails it again on “Riotriot.” The same gritty saxophone is sprawled throughout. The transitions between the soulful vocal swells to the whisper soft coos are pretty seamless and break apart the song in a tasteful, engaging manner. “Bizness” is the obvious standout track on w h o k i l l. The militant 16^th notes as the drumsticks click the rim, the crisp snare pops, the bounce of the bass and the sampling of Garbus’ vocals all combine to offer an uplifting track sure impress. The track is fresh, clear and does well to wake the listener up from whatever musical hibernation in which they’ve been lost.

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“Doorstep” is a graceful blend of doo-wop, reggae pop and African-inspired, minimal drum cadences. “Wooly Wolly Gong” is the longest track on the album. Garbus starts off in a fashion similar to Portisheads’ Beth Gibbons’ darker, noir-ish approach and then shifts to a more whimsical vocal range. For a lengthy track occupied by a mere shaker, a ukulele and avant-garde percussion, Garbus creates a dreamlike atmosphere that does well to capture the listener in the story of the lyrics. “Killa” is funny, clever, catchy, sexual, annoyed and innovative. At first listen, “Killa” comes off as capricious, but after multiple listens it may very well be the most controlled track on the album.

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Overall, w h o k i l l functions well to platform Garbus’ vocal abilities alongside her less-is-more instrumental approach. A bit more production in certain spots would benefit the album in places where Garbus’ vocals, a bass and some floor toms are supposed to be strong enough to carry the songs on their own. However, Garbus’ biggest facet is her ability to proudly convey her unique, endearing, quirky, soulful, empowering vocal ideas with a bold form of conviction that not many vocalists possess. She puts her heart out there, and whether or not people like it doesn’t change what’s as difficult to categorize as it is engaging. What initially comes off as annoying on w h o k i l l eventually becomes playfully intoxicating.

w h o k i l l is out April 19 via 4AD

New Music Review: Cold Cave “Cherish the Light Years”

Before you toss Cold Cave aside as another band in the long line of New Wave, No Wave synth pop knock offs, take a closer listen. When mentioning anything synthy these days, we always hear about Depeche Mode, New Order, The Cure, etc, etc. Personally, I’m all about that sound. But as a huge fan of the genre, I understand there’s a very fine line between finding influence in Depeche Mode and creating a lackluster parody. Two years after Cold Cave’s debut release, the band is back with Cherish the Light Years. Synthscapes, delayed guitars, drum machines and melancholic vocal swells come together to create an underivative homage, rather than a parody, of the past. Wesley Eisold, the band’s main songwriter and singer, started out in hardcore outfits like Give Up the Ghost, Some Girls and XO Skeletons. But with his work in Cold Cave, Eisold effectively and originally takes cues from Depeche Mode, New Order, The Cure, M83, The Young Gods, Skinny Puppy, Crystal Castles, The Knife and the highly influential duo Suicide.

“Confetti” is a bright, mechanical anthem reminiscent of David Gahan’s vocal approach in Depeche Mode’s “Precious”. Icy synths, drum machines, a lightly delayed guitar riff sharp enough to hook a white whale and Eisold’s vocals come together to create a tightly produced atmosphere of danceable melancholia. The lyrics and instrumentation match perfectly and the song succeeds in engaging.

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“Icons of Summer” and “Catacombs” also come to the forefront on the album’s first listen. Taken only once, Cherish in the Light Years seems only to deliver in these instances; however, Cold Cave offer an album in which listeners can initiate the Emotional Trade Off procedure. That is, the more time the listener is willing to spend with this album, the better it becomes. The downside: ETO may take up to five listens. The payoff: Cherish in the Light Years will unfold in unperceived ways.

“Icons of Summer” brings forth sentiments similar to Skinny Puppy’s “Assilimate”, The Rapture’s “Olio” and Crystal Castles’ “Untrust Us”. The song continues to unravel listen after listen, and in a more revealing light each time it ceases to be analyzed and is simply enjoyed. The same can be said for “Burning Sage”. Similar to The Knife’s recent classic “Silent Shout”, the industrial synthpop brood needs repeated before full on immersion is achieved.

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Bottom line, Cherish the Light Years owes as much to the past as it does to the present, but give it enough listens and it’s sure to stay with you in the future.

Cherish the Light Years is out now via Matador Records

New Movie Review: Conan O’Brien Can’t Stop

This was the second world premiere I’ve ever attended. It was during SXSW at the Paramount Theater in downtown Austin, TX. The line wrapped around the corner. The theater itself really swanky and full of others swelling with jittery anticipation not only to see the documentary, but also for the QA session after the film with Conan himself.

Director Rodman Flender captures the unraveling of Conan O’Brien’s transition from the NBC late night disaster to his Legally Prohibited From Being Funny On Television Tour. The film is raw, hilarious and incredibly revealing. As a long-time Conan fan myself, I was surprised to see an angrier side the man, the side having to deal with the tribulations of being Conan O’Brien. The film reveals Conan’s relationship with his children, his fans and other celebrities (including an unsettling encounter with Jack McBrayer in which Conan basically acts like huge prick).

The film itself is a must-see. I’m a huge fan of Conan, but this film helps to understand Conan O’Brien and his inability to stop pursuing his ambitions.

The QA with Flender and Conan was hilarious, insightful and worth the long wait in line.

No trailer or teaser poster has been released at this time.