You are currently browsing the monthly archive for April 2009.


anthemic pop / shimmering, retro synths / crazy falsettos / memorable hooks

Ever since Boston electro kids, Pass ion P it exploded onto the scene with “Sleepyhead” (which is the kind of song that starts out awesome and gets better with time) they’ve been showered with hype from the blogs. I can’t think of a more anticipated debut this year than the upcoming Manners. While the first song released by from the album, “The Reeling”, didn’t exceed too many expecations (although it’s not nearly as bad as some people were saying), the other two pre-released tracks are both solid gold. If there’s any justice in the world, Pass ion P it will be the next big thing on the indie dance front (hopefully causing MGMT to slide into oblivion).


“François Virot’s Yes or No is a laid-back-yet-tense-in-every-way piece of mostly-acoustic glory. His voice is at once breathy and full of life, a rare quality usually reserved for the well-established indie masterminds. It’s as if it’s everywhere at once, the words are distinguishable but somehow last for longer than you expect.

He doesn’t really ever “strum” his guitar, rather he opts to simply smash it with his artsy French hands. Maybe that’s a trendy new European thing. It takes on an unnatural crunch in its tone, like a glass of cold water from a rusted sink. Likewise, his percussion is of the found-variety: handclaps, stomping, hitting his guitar with a soft mallet, it’s all fair game. You’ll find the nearly-twee drumming on every beat, far enough in the background for it to be out of your mind, but just loud enough to carry the rhythm.”


Worldwild is the culmination of a long Pterodactyl adventure, an art-rock odyssey through lush pastures of layered vocal harmonies, mountainous rhythms and thick, dark forests of fuzzy, piercing guitars. -jagjaguwar


“Here’s the timeless record for 2009. Electric studio (mostly) recordings from Philadelphia’s Constant Hitmaker. New fans of his last CD will cry into their pillows and accuse him of selling out the bedroom rock scene. The initiated few will know he’s been doing it for years – plugging in with a full on rock band called the Violators and gigging in all corners of Philly. With baritone guitar/bassist Adam Granduciel, rodeo slide and fuzz guitar from Jesse Turbo, and perfect percussion from Mike Zeng, the Violators are Kurt’s Crazy Horse, slugging it out with him when he feels like playing with a full band. Oddly pleasant singing, in-the-red fingerpicking, twisting swells of feedback, totally POUNDING drums, and Krautlike-zen fill both sides of this record. Loud and proud, The Hunchback EP looks right filed next to your Neil, Faust, and Spacemen 3 records.”

flossin serpents 

“…a heady psychedelic ride… of pulsing, pounding, flailing post-melodic rock.” – DISQUIET

“Flossin is a cosmic rock/noise/jazz/free improv band with rotating members. CHRISTOPHER WILLITS, ZACH HILL (Hella) have been at the helm of the Flossin ship since 2004. Flossin “Serpents” sees Willits and Hill joined by their friends MATMOS, NATE BOYCE, and CARSON MCWHIRTER (The Advantage). Flossin bring their collective talents to bear creating a warm and spontaneous sonic wash of masterful free improvisation. “Serpents” showcases the diverse musical cross-pollination from the San Francisco Bay Area.”


Black Moth Super Rainbow came from the woods of western Pennsylvania. An actual, five-member band without the expected laptops and sequencers, BMSR is a psych-electro group in early-’70s electronic clothing. They’re like sad thoughts on the happiest days. All are lovingly played by real people with real hands.

“Twenty years from now, if I get asked to come up with a list of records or artists that speak of the late 2000s, then Neil Campbell’s Astral Social Club, and very definitely this second full-length for VHF, will be on it. The collision of electronic and acoustic textures is extreme and compelling all at once – spastic drum machines, flickering synthesizer riffs, mangled guitar lines and countless other bits of sonic debris cluttering and then overloading the stereo spectrum. This density of sonic information, packed into every ASC piece, overwhelms, and aurally approximates our own daily information flood, suggesting that instead of resisting it, maybe we should ride it.”

Gothic / Psychadelic / Grime / Fuzz / dark + ghostly / narcoleptic / chopped and screwed

“… inspired by the horror all around them; the decline of industry, the rising unemployment, the grim, slow death of the rust belt in america, their sound gives way to an insular, claustrophobia that reflects both their own environment and experiences… in the uncertain times we live in, Salem could just be the new soundtrack to our lives”

electro-war punk / acid-schizoid sound / hyper-disco / panic-factor / remix economy


These Are Powers – All Aboard Future (2009)

 “These Are Powers are known for the dissonance of their early recordings, a cacophony of rhythms, and industrial/electronic experiments… All Aboard Future contains exotic, abstract, hand crafted sounds – made, found, and electronically born.” -insound
“…orgasmic hollering to rival Lizzie Gang Gang Dance’s onstage possessions, but laid over wobbling bass, and an arpeggio of computer game sounds…” -drownedinsound


Micachu & the Shapes – Jewellery (2009)

“Despite her relative youth, Mica arrives as something of a Midas touched, Renaissance artist: equally at home writing and producing stunning, experimental pop with the likes of Matthew Herbert, as MCing with friends in various grime collectives and balancing this with her day time tutorage at the Guildhall School of Music and Drama where she’s studying composition.
…the real beauty of Mica’s talent is despite her prodigious musical ability she without fail keeps things rough around the edges: no polished beats when big fat dirty ones will do, obvious choruses eschewed for intricate yet subtle melodies that grow and grow…”



TuNe-YaRdS – BiRd-BrAiNs (2009)

“…was recorded on a digital voice recorder and assembled using shareware mixing software. Garbus’ primary instrument is ukulele, the tone of which is thin and trebly and lonesome… To this she adds her own field recordings– the sound outside her window, a child being asked about blueberries, indistinct creaks and clatter– along with occasional percussion that seems to consist of whatever nearby could be smacked or shaken. Some songs loop these elements into mini-epics…” -pitchfork