Oneohtrix Point Never – Replica

Oneontrix Point Never is set to unleash another album to be considered as a ‘true debut’ next month.  One (very productive) year after the epochal Returnal (Best album of 2010), Daniel Lopatin is ready to declare his creative ambition and lay waste to expectations, eardrums and frontal lobes all over again.  Having excised his synth pop demons with a quirky and catchy Ford & Lopatin album and collaborative impulse on the exquisite, under-heard FRKWYS Vol. 7 – starring drone psych dream team Borden, Ferraro, Godin, Halo & Lopatin – he was ready to dive headlong into the depths of his inner muse, dredging up something distinctly next-level with Replica.

 

The range and variety of sounds incorporated here will likely jolt those familiar with his major releases, Returnal and Rifts, as nearly every track strays from the expected drifting keyboard clouds and laser light workouts haunting those works.  Returnal hinted that things were getting stormy inside the OPN environment, most notably on opener Nil Admirari‘s volcanic eruption of beauty and brutality, before the album subsided into an occasionally hairy yet blissed out ride for its duration.  It was made to be lost in, all thought muscled out in service of a meditative nothingness from which I’d emerge thoughtful and cleansed.  But the translation of Latin phrase Nil Admirari, “to be surprised by nothing,” was perhaps more mission statement than anyone guessed, because Replica aims not only for novel horizons but an entirely new mode of conveyance itself.

Instead of the aural equivalent of a hurricane, this album begins with an invitation to slide.  Nearly reprising the sighing contentment of last year’s Ouroboros, opener Andro lays back and lets gravity work magic as we’re led to believe this will be a less demanding journey than last time.  Perfectly mirroring the chaotic intro dissolving into sleepy rivers on Returnal, Lopatin opens a trapdoor with distortion, tribal percussion and shattered vocals; snapping from the reverie, he unveils the dizzying, fractured realm inside.  Sudden, repeating sample blasts of urgent words (“Up!”) and unintelligible phrases snowball into rhythms, gurgling under warm baths of electronic bass, giving way to flights of pornographic radiance.  Delicate piano and wordless oohs-and-ahhs sparkle through as aggressive syllabic papercuts urge the dynamic tranquility, keeping the listener on his toes.  Every moment of repose is punctuated, every hair raising sequence actively hunting the next surprise around a blind corner

Instead of suppressing the violent energy and gorgeous destruction after one controlled burst, Replica seeks peace, balance and eager dance partners in its propensity for noise and serenity.  Transcendence is the natural offspring of this marriage and feels all the more hard-won and treasured.  Instead of dissolving and blurring out the unpleasant realities of the world, Oneohtrix Point Never now finds a way to reconcile the righteous and beatific experience of life with the windows flung wide.  If Returnal is a night spent alone in meditation, Replica is the morning’s journey into the uncharted future, heart and mind open to the mysterious possibilies ahead.

Listen to the title track here:

and watch the weirdly entrancing official video:

[buy this directly from the artist or via boomkat or even amazon. <3 dat white vinyl.]

A Real Hero (aka: I Quite Like Drive and its Soundtrack)

College – A Real Hero (feat. Electric Youth)

So you may be nodding your head with sublime abandon, smiling at the overtly direct lyrics, precious vocals and selfconsciously 1980’s production sensibility while the song plays.  If not, I’d wager that you have yet to see one of the best films of 2011, Drive.  There’s a certain neck-hair-raising context this song is placed into…

The story of a quiet stunt man who moonlights as a getaway driver, caught up with affection for a woman who melts his stoic edge, sacrificing his safe routine for the good of others has been done.  Director Nicolas Wending Refn not only spikes this coulda-been-warhorse recipe with wincing violence and tender detail, but cuts through the surface coolness to reveal the messy desire, motivation and reason behind the action and reaction.  In other words, we’re shown something any hack can make cool and slick, boiled down to – and built up from – the frail humanity from which is grows.  In simplest terms: it’s a thriller done goddamn RIGHT for once.  And the music is superb.

Atlas Sound – Quarantined

atlas-sound-bradford-cox

I am waiting to be…  changed

Bradford Cox is one of the only musicians working today who I feel, despite fronting a popular band and receiving wide acclaim, is less than fully recognized for his true genius.  My snobbier friends write off Deerhunter as indie/pitchfork ‘core’ while casual fans aren’t often bothered to delve into his often exquisite solo work as Atlas Sound, both on record and (more importantly) in the cornucopia of material he’s released free of charge over the years.

Debut Let The Blind Lead Those Who Can See But Cannot Feel, source of Quarantined.

My favorite pieces often combine a sharp nostalgic eye for the detail of pop songcraft with an otherworldly timbre.  On paper they’d make any head nod while in practice they alternately embrace and repel through a veiled fog.  Some display a truly off-kilter sense of place and time, pairing Phil Spector rhythms and shoegaze instrumentaion with lyrics about the inner terror of isolation and the damaged longing for freedom through metamorphosis.  For instance.

He’s covered Unchained Melody (seriously, listen) and recorded drone epics about tripping nuts all weekend with equal devotion and care. Cox most recently dropped a three hour, four volume slab of unreleased treasure on fans just because. Because he was neglecting his freebie-filled blog while touring and releasing multiple items with his main band? We certainly weren’t owed more; he is simply that prodigious and generous an artist.

After the dreamy debut masterpiece Let The Blind Lead Those Who Can See But Cannot Feel (from which Quarantined sprang) and slightly more straightforward follow up Logos, and a two year break, Atlas Sound is about to treat us all to another official LP of celestial pop on November 8 with Parallax. Check the artwork below for a bit of weird fun and to listen to advance single Terra Incognita. While you’re there, click on a window in the far right building to hear a bonus ditty I won’t spoil here. You’ll know it when you find it.

Also, another special pre-release “leak” of which I’ve grown fond: Te Amo (right-click and ‘save as’ to keep the mp3).

[while you wait get the Let The Blind… 2LP at Insound, or Amazon – there’s a full bonus EP of equally worthy music included and like other 4ad releases the packaging is gorgeous]

Julian Lynch – Terra

Julian Lynch crafted the chillest album I’ve heard all year.

First off, watch the video. Starting off innocuously and traveling through the same dreamy territory as the song itself, it’s a perfect realization of Lynch’s fractured hazy diamond of a single. It should also induce an urge to go bicycling, now.

Continue reading

Destroyer – Kaputt

Before 2011, I had heard one Destroyer album, Your Blues.  I recalled a very baroque yet earnest ballad named The Music Lovers, and nothing else.  I thought of Dan Bejar (the sole permanent member) as part of an indie pop milieu I haven’t found interesting in years.  Thankfully, Destroyer changed and I was wrong.  Kaputt is a utopian vision of space-age late night electronic jazz pop.

 

First I’ll mention the atmosphere: as lush as a Ferrari made of diamonds, parked near a waterfall…  bathed in the neon glow of some not-too-distant future.  Every reverb-laden trumpet blast and bright synth line feels magnified, submerged in the liquid cool of Kaputt’s immaculate production.  Some have mentioned the album conjuring memories of the 80s and I can’t disagree;  I think it’s more to do with the painstaking detail of the recording than any genre the band nods toward.   It was a time, after all, when ambitious pop albums were a slightly more common sighting.

If you’re familiar with Miles Davis‘ monumental Bitches Brew, you’ll have some idea of the tone and color the omnipresent trumpet takes on as it darts through the album from beginning to end.  Muted and echoed at godlike levels, it’s an apparition as much as a driving force.  Accenting and elevating the songs, highlighting the utopian feel, it’s a major aspect in cementing this sound in memory.  Another is Bejar’s voice.  With a deliver both earnest  and cool, his affecting lyrics take impressionistic flights spiked with lump-in-throat moments which remind us: he’s not just our tour guide on this  twilit adventure, he’s sharing the story of how we got here.

This chilled out, slickly psychedelic album is polished pop of the highest order.  Crackling with an energy and intricacy unheard of in Bejar’s (former) circles, it unapologetically stands out with a crystaline picture of a time we’re not living in.  For me, it’s the future.  I’m sure this has something to do with my upbringing in the aforementioned decade; this is how the future was supposed to sound then!  You may hear the past.  Either is a fantasy wholly worth inhabiting.

If you’re like me, you may need more assurance that this isn’t the tired indie pop you may expect (or fear) it to be.  So try this:

On second thought, everyone watch that.  One of the most original, thrilling, and straight up funny music videos I’ve seen in a long time.  80’s girls with wet hair, desert mirages, and flying whales!  Wow.  That just made me like this even more.  Anyway…

[you can get this straight from label merge, or even at amazon]

Albums I Missed: 2010, part 2

Here’s another set of essential 2010 albums unfortunately left by the wayside.  Witness their excellence.

  • Mark Van Hoen – Where Is The Truth

Beauty.  Just, pure fragile beauty.  Floating like a spiderweb made of static, hung with fragments of shattered dreampop.  Van Hoen, who started out in Seefeel and ferried the shoegaze & idm Locust through the next decade, knows a thing or two about prismatic blissouts.  Being unfamiliar with his past solo work, I won’t remark on how this is a more personal statement or not; I will simply say that, as a *huge* fan of Seefeel, a longtime admirer of Locust (especially Truth Is Born of Arguments – an essential document), and an eternal seeker of alluring disintegration, this album hits the spot.

  • Solar Bears – She Was Coloured In

Being taken in by the line that their name is inspired by a certain Tarkovsky film and the fact that they employed old school synths in a more pop-friendly framework than Oneohtrix Point Never or Emeralds, I nevertheless held this one at arm’s length upon first listen.  The tones grabbed me, the melodies held me, the sheer variety kept my attention from wandering, but I was stopping short of truly absorbing it.  Second go-round, I realized it’s not made to dissect the individual tracks or feel around for a signature invention, something groundbreaking to hang its hat on.  This album is one to sit back (or walk or ride or whatever) and take in all at once.  Much like Teebs’ utopian fever dream Ardour, this 50 minute excursion is built carefully out of vignettes highlighting different facets of the sound until a wholly rounded picture is formed by the end.  I can hear Blade Runner and The Neverending Story and even the Terminator at times, but I can also sense the instructive warmth of Boards of Canada, fellow Scots with a penchant for playfully distracted, unpretentious psych explorations.  Where else would we find songs titled Head SupernovaPrimary Colours at the Back of my Mind, and Neon Colony?

  • Girls – Broken Dreams Club EP

Well this one snuck up on me.  I was never a fan of the debut LP, which swam in a torrent of praise in 2009.  Some songs caught my ear but the band simply didn’t hit those pleasure centers I need to truly enjoy an album.  Playing this lengthy EP on a blizzard bound morning while making pancakes turned out to be a shining revelation, and an arresting listen.  Moving beyond their Velvet Underground, jangly garage sound into the realm of earnest, intelligent, well written pop infused with more than a little  grit and gravitas, the band has officially released one of a literal handful of rock albums which I can admire, adore, and really sink my teeth into.  Biggest highlights are the title track, a stoned lament for the fractured state of our world today, and Caroline – a tune which steps out of any boundaries the band previously ruled, into pure psychedelic wanderlust.  It reveals itself slowly (at first echoing The Smashing Pumpkins‘ deep album cut Porcelina of the Vast Oceans), unwinding like a scarf caught on a fence, until it’s stretched to the point of abstraction and hanging in the air around you.  A cloud of a hazy rock dream, tugging upward.  A great way to end an album and point to an even brighter future for this duo.

Albums I Missed: 2010

So we all tend to discover some of our favorites of a given year immediately or long after it has passed.  I decided to share mine.  Despite being the first week of January, I’ve already discovered, revisited, and heard enough albums in a better light (courtesy of my brand new Sennheiser 280‘s) to start a list going.  This is the first in a series to unfold for the next month or so.  All I know for sure is that this music is at least as worthy of a listen as anything listed in Best of the Rest 2010, or even Best of 2010.

  • Forest Swords – Dagger Paths

This album I heard once, the moment it dropped.  Despite intriguing me somewhat, it managed to slip to the back of my must list and languished for the rest of the year.  Spotting its placement on several highly respectable year-end lists, I felt compelled to give it another chance.  So thank you, fellow list makers.  Especially my friend at Bubblegum Cage III.  What sets this material apart from the beat scene or the solo-psych-project folks – or anyone else for that matter – is the serpentine guitar work and murky, lived-in feel of every moment.  Lurching beats dangled around thunderous, bassy guitar melodies and an almost tribal, foot stomping ethos, this (frankly) astounding debut sounds like the work of an accomplished veteran, confidently going out on a limb, then rising, rising, rising.  The only direct reference point I have is Gang Gang Dance, live, lately.  Don’t look to their records for anything like this;  you had to be there.  Thankfully that ecstatic experience seems to be just what Forest Swords aims for and achieves on this album.

  • How To Dress Well – Love Remains

Honestly, I kept away from this one out of sheer knee-jerk hipster/pitchfork/etc rejection.  I shouldn’t have.  It’s so much more (and less, in a good way) than what it’s been sold as.  Far more psychedelic than any description employing “r&b” infers, it’s a syrupy miasma of primal notions and half-thoughts, the bits and bytes of heartache and longing twisted up in a melting dream logic David Lynch would be proud of.  This is drone music for the dance party comedown, dance music for the somnambulist, love songs for the fucked up.

  • Shackleton – Fabric 55

So I had the impression that Fabric mixes were simply a series in which an artist makes a DJ mix of other artists work.  Sometimes they’re great, sometimes they’re just alright.. but they’re never essential or brilliant like the artist’s own work.  I couldn’t have been more wrong.  Shackleton mines his own discography, past present and future, using elements of his Three EPs release as thematic glue to bind a striking set of 22 tracks that, to me, is possibly the final word on dubstep as we know it.  One listen through and I’m already confident that I’ll be spinning this more than his prior album – and I absolutely LOVE that album.  This one is simply more vibrant, active, playful.  It shuffles off on an oceanic dub odyssey, seamlessly whirling through almost 80 minutes of depth charge awe.  The fact that I ignored this profoundly satisfying set, from a personal favorite artist, makes my head spin.

If you’ve got suggestions for something I may fall in love with, please leave a comment.  We all benefit from hindsight.  MORE to come…