Bloom

Each year, there are one or two records that stand apart from everything else released during the past twelve months. These records possess a sense of otherness, almost as if they exist in an entirely different universe than every other piece of music released during that year. In 2011, Fucked Up’s David Comes to Life and Destroyer’s Kaputt towered above their competition. In 2010, Kanye West’s My Beautiful Dark Twisted Fantasy and Arcade Fire’s The Suburbs followed likewise. This year was lacking such a record until May 15, when Beach House’s masterful fourth album, Bloom, was released.

Beach House’s previous LP, Teen Dream, was deemed by many their breakout, introducing their hazy dream-pop sound to a much wider audience. While it doesn’t quite reach the dizzying heights of Teen Dream, Bloom proves it was certainly not a fluke, establishing Beach House as one of the finest bands working today.

In an interview with Pitchfork, lead singer Victoria Legrand recounted some of the concerns she and guitarist Alex Scally had when recording Bloom, “How do you describe a feeling without saying ‘this is the feeling’? How do you take something completely natural, that will eventually transfer to the listener, but not just settle for that instant feeling of ‘you hurt me,’ and go to an imaginary landscape instead?”

This type of transcendence is enormously difficult to achieve in any medium of art, yet Beach House manage to pull it off completely. Bloom has a wonderfully ethereal quality that makes the listener feel as if he is being transported to another world, an “imaginary landscape,” if you will. This is due largely to the incredible synergy between Legrand and Scally, which has progressed to such an extent that it is almost impossible to imagine they cannot communicate telepathically. Scally’s lush slide-guitar riffs complement Legrand’s smoky vocals in a manner that can only be described as otherworldly. The effect is hypnotic, making the album’s fifty-minute runtime feel much shorter. By the time it ends, you don’t want to leave their rich, breathtaking world. The only remedy is to play it again, and again, and again.

While not as accessible as Teen Dream, Bloom has an air of mystery about it. The hooks are not as obvious, the song structures a bit less conventional. But every time I listen to it, I get the feeling that I’m that much closer to solving the puzzle. That if I listen just one more time, I’ll have it figured out. But I never do, and probably never will. Yet it’s that tantalizing possibility, the feeling that I’m this close. Like Charlie Brown’s futile efforts to finally kick that football. Both he and I know Lucy will always, always pull it away at the last second. But we both know that won’t keep him from trying, because he’s too close. And that’s the beauty of Bloom, it keeps you in its orbit, but just far enough that you’ll never figure it out. It’s a puzzle wrapped in a riddle, nestled in an enigma, and an enchanting one at that. A siren, making you forget everything except that impossibly beautiful, utterly captivating sound.

Summer Music Festival Preview

 

Summer is almost here, and that means music festival season is just around the corner. Chicago is home to not one, but two excellent festivals: Lollapalooza and Pitchfork. Lolla is the bigger and more established of the two, the brainchild of Jane’s Addiction lead singer Perry Farrell. While it began as a touring festival in 1991, it found a permanent home in Chicago after it was reestablished in 2005 following a two year break. SInce then, it has featured some of the biggest names in rock and pop, including Kanye West, Radiohead, Arcade Fire, and Lady Gaga among others. Last year’s headliners were uncharacteristically weak, leading me to hope that Farrell would atone for his sins this year.

But after looking at this year’s lineup, I was once again underwhelmed. The Black Keys and Jack White will certainly be able to command the main stages, and Black Sabbath was unquestionably a big draw (though they’re at least 30-40 years past their prime). But the other three headliners (Red Hot Chili Peppers, Avicii, and Justice) are rather uninspired. Red Hot Chili Peppers would have been an excellent choice in the mid-90s, but their output since 1999’s Californication has been boring at best, and needlessly over-indulgent at worst. You can almost hear lead singer Anthony Kiedis checking his watch as he delivers some of the sleepiest vocals I’ve ever heard on snoozefests such as “Snow” and “The Adventures of Rain Dance Maggie”.

As far as the electronic acts are concerned, I appreciate Farrell’s efforts to make Lolla more diverse, but few electronic artists have the clout and stage presence to headline a main stage. Justice’s high energy style would have been a perfect fit for Perry’s (the predominantly electronic stage), where the atmosphere is more frenzied and intimate. Avicii, on the other hand, represents the bland techno that has come to dominate the electronic music scene. The undercard, while not quite as deep as I would have hoped, is more exciting, featuring a healthy array of established acts and promising up and comers.

Though it debuted the same year Lolla found its current home, Pitchfork has always been seen as Lolla’s younger brother, featuring smaller, often more experimental acts. Run by the highly-influential indie taste-making website of the same name, Pitchfork has always had a knack for finding bands just as they break out. The festival really hit its stride during the past two years, grabbing some of the biggest names in independent music (Fleet Foxes, LCD Soundsystem, TV on the Radio, Pavement), and arguably surpassing Lolla in terms of quality. This year seemed like the year Pitchfork would establish itself as a world-class festival, as some very big names circulated on the rumor mill. Pulp? Jeff Mangum? Bon Iver? Maybe (fingers crossed) a full-fledged Neutral Milk Hotel reunion? But my lofty hopes came crashing down in a fiery heap of disappointment when the actual headliners were announced.

Vampire Weekend were a satisfying, if not enthralling pick, but the other two (Feist and Godspeed You! Black Emperor) do not have the type of live shows that warrant a prime slot. Especially considering that there is at least one other band on the lineup (Beach House) who could have easily replaced either Feist or Godspeed. Frankly, I’m confused as to why Pitchfork did not choose The Walkmen (who are playing Lolla instead) to headline, since they’re half-way down the bill for Lolla, and will likely land a mid-afternoon slot unreflective of their considerable talents.

But as has been the case in recent years, Pitchfork’s non-headlining acts are as strong as ever, eclipsing Lolla in terms of quality and depth. From the aforementioned Beach House to Sleigh Bells, Cloud Nothings, and Wild Flag, Pitchfork has proven it can consistently stay on the cutting edge. This is especially true in regard to the hip-hop and electronic acts. Where Lolla’s hip-hop and electronic slate is often more commercially viable (while consistently mediocre), Pitchfork has always been more willing to book more adventurous and ambitious artists. This year alone boasts the likes of Flying Lotus, The Field, Danny Brown, A$AP Rocky, and Nicolas Jaar. Due to the depth of the lineup, I’ll give Pitchfork a pass (this year) for their weak headliners, and a slight edge over Lolla for the second year in a row.

For those of you who choose to attend either or both festivals (and both are certainly worth attending), here are my top four non-headlining acts to check out at each festival (for the record, The Black Keys, Jack White, and Vampire Weekend are far and away my favorite headliners).

 

Lollapalooza

 

1. The Walkmen

 

Easily one of the most under-appreciated bands of the past decade, The Walkmen have maintained a consistency most bands would envy. Their sound, a Smithsesque mixture of 80s alternative and surf rock, feels familiar, but is in reality very distinctive. The interplay between the band members is deceptively skillful, as their messy rapport would indicate otherwise. This could be a recipe for disaster for many bands, yet The Walkmen make it look easy, creating a loose vibe that highlights their incredible chemistry. But what makes them special above all is the unmistakable sense of longing and regret so successfully conveyed on their records.

Take the piano riff on the breakout single from their debut LP, “We’ve Been Had”. Evoking an ice cream truck, carousel, and music box all at once, the sound of that piano not only recalls, but embodies the concept of nostalgia, calling to mind just about every childhood memory you’ve ever had. While technical prowess can certainly bolster a band’s effectiveness, the ability to forge an emotional connection with their audience is what separates good bands from great bands. And The Walkmen are a great band.

 

2. tUnE-yArDs

 

Arguably the breakout artist of last year, Merrill Garbus (who works under the moniker tUnE-yArDs) is one of the most exiting young musicians working today. Her kinetic, exuberant second album, Whokill, garnered significant critical acclaim, pulling a significant upset over Bon Iver and PJ Harvey to take the top spot in the 2011 Pazz and Jop Critics’ Poll. Melding Afropop, folk, and hip-hop, while drawing from influences as diverse as Beck, M.I.A., and Talking Heads, Garbus’ sound is nevertheless uniquely her own, due in no small part to her contagious enthusiasm. She clearly loves making music, and you can hear that joy in her booming yet pliable voice. She received rave reviews for her live shows last year, even being named the best act at last year’s Pitchfork Festival by Tribune music critic Greg Kot. If you’re looking for something a bit off the beaten path this summer, look no further.

 

3. At the Drive-In

 

Texas based post-hardcore outfit At the Drive-In broke up at the height of their powers in 2001, fresh off of their landmark album Relationships of Command. Members Cedric Bixler-Zalava and Omar Rodriguez-Lopez split off and formed The Mars Volta while the other members became Sparta. And while both bands achieved some measure of success, neither achieved the acclaim of At the Drive-In. Rumors of a reunion had been floating around for the past few years, though they appeared to be shot down by Rodriguez-Lopez and guitarist Jim Ward in 2009. But the rumors were proven true when ATDI announced a tour at the beginning of this year, including some very high-profile dates at Coachella and Reading.

Their propulsive, high octane, chaotic sound has had a significant impact on the punk and emo scenes since their breakup, though few bands have been able to recreate ATDI’s high wire balancing act with as much finesse and ferocity. Their final two releases (Relationships of Command and Vaya) were particularly successful at recreating the energy of their famed live shows without sounding sloppy or unprofessional. Their Lolla date may be the last time they play in Chicago, so catch them while you still can.

 

4. Twin Shadow

 

Evoking the likes of 80s stalwarts Prince and New Order, Twin Shadow mastermind George Lewis Jr’s style is firmly rooted in the past with an unmistakably modern spin. His 2010 debut Forget could serve as a spiritual companion to Destroyer’s masterful 2011 album Kaputt, as it skillfully incorporates components of new wave and synth pop without the cheesiness that plagued many of the artists who inspired him. This guy means business, and his dance-floor ready sound pulls no punches. The seductiveness of his songs makes them alluring and magnetic, drawing you further and further in until you can’t escape their pull. In a lineup heavy with faceless techno and dubstep artists, Twin Shadow should provide a danceable, yet more substantive respite.

 

Pitchfork

 

1. Beach House

 

Brooklyn dream-pop duo Beach House have a remarkable ability to get more with less. Using just a slide guitar, drums, an organ, and Victoria Legrand’s smoky voice, Beach House’s sound is as lush and melodic as any today. This is due to the incredible synergy between Legrand and guitarist Alex Scally. The feeling produced by this combination is similar to what I would imagine it would be like to walk on a cloud. It feels both weightless and triumphant transcending reality for something deeper and more soulful. Simply put (and I don’t use this descriptor lightly) their music is beautiful, a feat accomplished by very few artists in any medium. Their 2010 record Teen Dream is one of the most mesmerizing records of the past decade, and their follow-up Bloom (set to be released May 15, though it has already been leaked online) proves a worthy successor. While their live show is fairly low-key, it should provide the perfect soundtrack to a warm July afternoon.

 

2. Cloud Nothings

 

Dylan Baldi’s first two records consisted of pleasant, if forgettable lo-fi garage pop. His goals were fairly modest, and consequently, the results were as well. But in 2011, Baldi felt as if he had hit a creative wall. He wanted a sound that would allow him to experiment and improvise, and he enlisted legendary producer Steve Albini (In Utero, Surfer Rosa) to facilitate this shift. What resulted (Attack on Memory) is a sharper, more abrasive record that still manages to utilize Baldi’s pop tendencies. Though the album is relatively brief (eight songs in thirty-three minutes) its conciseness serves it well; all eight songs are necessary pieces in a greater whole. Baldi’s bold move was one of the biggest surprises of this year, and with such a willingness to reinvent himself, it will be exciting to see where he goes next.

 

3. Sleigh Bells

 

For many, Sleigh Bells were the “it” band of 2010. Their hard-hitting debut Treats combined metal, hip-hop, and pop in ways rarely seen before. Reign of Terror, their highly anticipated follow-up dropped in February of this year, to somewhat less enthusiastic reviews. Personally, I prefer Reign of Terror to Treats, as it has a greater sense of craftsmanship and cohesiveness, the work of a more mature band. While Treats was louder and more exciting, there were times when guitarist Derek Miller and lead singer Alexis Krauss sounded as if they were on completely different pages. Reign of Terror flows far better and is more consistent than Treats without sacrificing Sleigh Bells’ genre-bending style. Considering the ear-splitting amounts of noise Sleigh Bells produce, their set at Pitchfork should provide a stark contrast to some of the more mellow acts at the festival.

 

4. Cults

 

New York indie-pop duo Cults were responsible for one of the catchiest, most infectious records of last year with their self-titled debut. Full of xylophones, synths, and sunny vocals (courtesy of Madeline Follin), Cults was light enough to be easily digested on first listen, but dynamic enough to warrant repeated visits. The depth of the production fully utilized the diverse instrumentation, giving them an edge over other indie pop acts such as Foster the People. For such a cheery band, Cults are a surprisingly aggressive in a live setting, adding an edge to their easygoing sound. Two near-consecutive years of touring have given Cults a confidence that should allow them to hold their own against some of the more experienced acts on Pitchfork’s bill.

2012 Grammy Recap

Another year, another wasted opportunity. The Grammys have deservedly faced criticism for eschewing artistic merit in favor of commercial appeal, and this year was no exception. With the best-selling album of 2011, Adele swept the major categories (Album, Record, and Song of the Year) to the surprise of no one. While she is a more worthy recipient of these awards than some recent winners, Kanye West seemed the obvious choice for his 2010 instant-classic, My Beautiful Dark Twisted Fantasy, which inexplicably was shut out of the Album and Record of the Year categories (it received a Song of the Year nom for “All of the Lights”) despite massive critical and commercial success. Maybe the voters at the National Academy of Recording Arts and Sciences have become sick of Kanye’s brash personality (though it didn’t seem to bother them on his first three albums), or maybe they’re simply idiots, but for whatever reason, Kanye was snubbed.

The absence of My Beautiful Dark Twisted Fantasy left the Album of the Year category embarrassingly thin. In addition to Adele’s 21, Foo Fighters’ Wasting Light, Lady Gaga’s Born This Way, Bruno Mars’ Doo-Wops & Hooligans, and Rihanna’s Loud received nominations. I’m sorry, but for a ceremony claiming to reward artistic excellence, one simply cannot make the argument that it is doing so. Looking at the  2010 and 2011 Pazz and Jop Critics’ Polls (the most definitive barometer of critical opinion), only one of the five albums (21) placed in the top 25 in either year. Arcade Fire’s massive upset last year had me hoping that the Grammys were beginning to change, but alas, it seems that it was more an anomaly than a burgeoning trend.

On the positive side, Bon Iver won for Best Alternative Album and Best New Artist, providing a fitting cap to an incredibly successful year. They also managed to score Record and Song of the Year nominations for “Holocene”. And while Kanye didn’t receive much recognition in the major categories, he still ended up with an impressive four wins.

On the negative side, Grammy voters, desperate to prove they were in touch with current musical trends, awarded Best Dance Recording and Best Dance/Electronica Album to Skrillex over the far more deserving Cut Copy and Robyn. In addition, the consistently mediocre Foo Fighters dominated the rock categories, prevailing over Radiohead, The Decemberists, and Wilco. Personally, I’ve never had any major problems with Foo Fighters, but they’re in no way superior to the three aforementioned bands.

Unlike cinema, music does not have a credible large-scale event where its best artists are celebrated. If they could get their act together, the Grammys could be that event, which is why I become incredibly frustrated every year when countless deserving artists are ignored in favor of more popular alternatives. While I’ll continue to hope that Grammy voters will come to their senses, I’m not holding my breath.

Watch the Throne

The rise of file-sharing and iTunes has debilitated the relevance of the album format, relegating it to audiophiles and die-hard fans. Consequently, the “event” album, one that provokes breathless anticipation for the entire product, rather than merely a single or two, has become an increasingly rare occurrence. Thus, when two of the biggest names in music announced they would be recording an album together, it immediately took its place among my most anticipated albums of the year. Fresh off of his most recent effort and one of my favorite albums of last year, My Beautiful Dark Twisted Fantasy, Kanye West is at the top of his game, and the prospect of another full-length release, this time with mentor and hip-hop titan Jay-Z, was incredibly tantalizing, to say the least. Throw in rising R&B star Frank Ocean and production from Q-Tip, Swizz Beatz, The RZA, and West himself, and I was chomping at the bit for what would surely be an instant classic. The first song released from the recording sessions, “H.A.M.”, was met with a lukewarm response, tempering expectations for the full release. After presumably gauging and reacting to the song’s tepid response, West and Jay announced that it would not make the final album, instead being released as a bonus track on the deluxe edition. Six months later, the first track from the album, “Otis”, was met with much greater acclaim, reviving hopes that Watch the Throne would be one of the year’s best hip-hop releases.

And while it doesn’t measure up with West or Jay’s best, Watch the Throne is still a very enjoyable listen. As is the case with most of Yeezy and Hova’s work, the production is without doubt the highlight of the album. As brash and bold as West and Jay themselves, the beats force the listener to take notice, and seeing that they’re crafted by some of the most accomplished producers in hip-hop today, the results are mesmerizing rather than irritating. The brazenness of the production is appropriate considering the self-congratulatory nature of Yeezy and Hova’s lyrics, though it’s very much in line with what both have accomplished with their previous work. It would have been nice to see them venture out of their respective comfort zones, as West did to great effect with Jon Brion on his sophomore effort, Late Registration. Abstract hip-hop virtuoso Madlib, whom West had previously indicated would be involved with the album, would have fit this role perfectly. Regardless, it’s difficult to take issue with the bevy of  talent on display.

While West and Jay exude confidence at every turn, neither sound as hungry as they have on their best releases, giving the album an air of complacency. Yet Yeezy and Hova possess such immense talent that their lesser efforts are considerably more interesting than most rappers’ best. Their lyrics here are often clever, though they sometimes fall prey to self-pity. I’ll give them a pass on bragging about their luxurious lifestyles, but when they bemoan the difficulties they face as a result of their opulence, I’m not buying it. From a purely aesthetic standpoint, West’s flow sounds sharp as ever, though the same cannot be said for Jay, who is clearly in decline.

The album contains some standout tracks (“Lift Off” and “Otis” the best among them), and while there aren’t any real duds, there aren’t any true show-stoppers either. No one is pushing any boundaries here, and while that makes the record accessible, it inhibits it from fulfilling it’s potential. The same is true for Frank Ocean, Beyonce, and Ben Hudson. All three are talented and turn in respectable performances, but none of them are able to fully utilize their talents. Watch the Throne is worth a listen or two for fans of West and Jay, but those looking for the type of transcendent masterpiece that both are capable of producing will be left wanting more.