The Mountain Goats Team With Kaki King for New EP
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Arbouretum Kick Off Joint Tour With Pontiak
Rex the Dog Delivers Debut Album With Knife Remix
Stars Like Fleas Line Up Tour
Boris, HEALTH, the Bug to Open for Nine Inch Nails
Weezer Seek Fan Videos for Tour Visuals
King Khan & BBQ Show Hit North America This Fall
Murs Campaigns for President on Tour
Art Brut's Argos Writes About Comics, Forms Bands
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Horse Feathers Build a House With No Home
These days, open mic nights usually cause more forms of embarrassment than success. Like the art of discovering new music in itself, though, there are a few gems in the rough just waiting to be found. Before the digital age where anyone could simply create music, upload it, and add a million or so friends [...]
These days, open mic nights usually cause more forms of embarrassment than success. Like the art of discovering new music in itself, though, there are a few gems in the rough just waiting to be found. Before the digital age where anyone could simply create music, upload it, and add a million or so friends on MySpace for instantaneous exposure of some sort, the options were limited to publically displaying your talent. Sure, you could still send a demo tape to the record label of your choice, but there was a good chance it was not even going to be played unless you had a good connection or two. The rise of Justin Ringle’s music career has occurred too recently for the young songwriter to experience such “ancient” means of exposure, but by indication of his throwback style of lo-fi folk, doing things the old-fashioned way seems to coincide well with his ideology. After a move to Portland, Oregon in 2004, the Idaho-based Ringle began performing at open mic nights throughout the Oregon area under the name of Horse Feathers. At the time, he had no credibility to his name whatsoever, opting to build his reputation based on an impressive array of original songwriting that captivated most audiences in attendance.
While making his rounds throughout bars and small venues, Ringle made several connections in the local Oregon music scene. The most important came in Peter Broderick, a multi-instrumentalist who was already a member of Norfolk & Western, the solo alias for local folk songwriter Adam Selzer. With Norfolk & Western already a brand name in Oregon at the time, Broderick saw the immediate potential of Ringle’s craft, a somewhat comparable entity to the talented craftwork of his other collaborator’s gently intricate folk musings in Selzer. Ringle and Broderick began writing songs and performing together at the end of 2004, increasing the writing process the following year in anticipation for their 2006 debut, Words Are Dead. As a proficient violinist, cellist, pianist, and percussionist, Ringle’s multi-instrumentalist talents allowed Ringle’s powerful voice and exceptional guitar work to be complemented by arrangements that bolstered his charismatic songwriting. Even when backed by nothing more than an acoustic guitar though, his work shines with a form of emotionally charged authority and preciseness that few contemporary folk artists are able to achieve. Broderick’s presence allows their collaborative songwriting to flow even more freely, as neither show a desperate regard to enhance arrangements without necessity or purpose; it is certainly a concept that more folk artists – and songwriters in general – should take note of.
I imagine that the quality presented on Horse Feathers’ newest album, House With No Home, will have the type of effect in which their previous material will be rediscovered or taken anew by many. With other similarly molded folk artists like Will Oldham and Bon Iver allowing the style to tread in accessible waters, it would not be surprising to see more people open up to more barefaced styles of independent folk music in the vein of Horse Feathers. And as far as this style goes, I have not found many recent songwriters who can compare to the works of Horse Feathers. Without being pretentious or stylistically overbearing, the songwriting duo of Ringle and Broderick are able to craft delicate gems that highlight topics ranging from melancholic loneliness to constructive self-discovery, two themes that override their initial generic mold to create unique forms of serene audibility and poignant heartbreak. Most of the time, Ringle writes the songs and then gives them to Broderick for additional instrumental accompaniments. It has been a method that has worked advantageously since the release of Words Are Dead Alongside Ringle and Broderick sits an additionally impressive cast of musicians, including cellist/vocalist Heather Broderick, violinist Nathan Crockett, cellist Catherine O’Dell, and banjoist/percussionist Sam Cooper. On House With No Home Heather Broderick makes her presence particularly well known with backing vocals that contrast flawlessly with Ringle’s calmly shrill and entirely effective vocal delivery, an aspect that combines with richly consuming instrumentation to create a sound that is wholesomely unique to the talented array of musicians.
House With No Home begins immediately with a stunner of a track in “Curs in the Weeds”, a remarkable accomplishment for the songwriting duo in terms of both lyrical and melodic elegance. As several variations of strings begin to accompany the gentle hush of an acoustic guitar, Ringle relays a variety of scenic metaphors with a transcendentalist tinge. Calling on a “father of a three” to look upon parenting as a selfless endeavor, one cannot help but feel indebted to Ringle for his advisable musings. “It’s narrow without one,” he sings along the backing of strings, guitars, and Broderick’s angelic vocals. “To live in a house with no home.” The sense of familial devastation is prevalent, and the comparisons Ringle utilizes to naturalist settings are wisely engineered to exhibit rare forms of uplifting emotional capacity. “Working Poor” is a brisker attempt that sees a banjo lead initially guide a series of acoustic guitars and multiple vocal accompaniments, resulting in a much livelier and emotionally subdued track that is complemented vigorously by a series of impressive strings toward the conclusion. “Helen”, a heartfelt symphonic love song, remains notable for its use of minimalistic orchestral accompaniments as it toys with a variety of finger-plucked strings over hushed backing vocals and more additional impressive guitar arrangements. The actual intricate arrangements arrive in the final minute or so, but the introduction prepares the listener effectively for the transition into a more full-fledged sound. It serves as a prime example of Horse Feathers’ high degree of songwriting, one that values planning and preciseness as the actual melodic and lyrical content in itself. House With No Home drops on September 9th and is fully recommended.
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Horse Feathers - Curs in the Weeds
Download audio file (hfeathers-cur.mp3)
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Horse Feathers - Working Poor
Download audio file (hfeathers-wor.mp3)
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Horse Feathers - Helen
Download audio file (hfeathers-hel.mp3)
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Parallax Error Beheads Max Tundra
You would be hard-pressed to find a successful contemporary musician who disregards classical music entirely, as numerous components remain a steady influence on the various forms of music we listen to today. I doubt anyone would dismiss it as irrelevant, but there is certainly a difference between appreciating something and enjoying it. Even if one [...]
You would be hard-pressed to find a successful contemporary musician who disregards classical music entirely, as numerous components remain a steady influence on the various forms of music we listen to today. I doubt anyone would dismiss it as irrelevant, but there is certainly a difference between appreciating something and enjoying it. Even if one holds a strong interest in music, the chance of them undertaking classical studies has become minimal as of late, especially with the accessible usage of technology allowing for various stylistic forms of music to be at the fingertips of anyone who desires to explore different methods and styles within the art form of music. It can also prove extremely helpful in learning an instrument, with some intricate programs even allowing one to self-teach or read notation entirely on their own without an aid. Back in the days before the internet and MP3 players though, learning an instrument often consisted of teachers cramming bits and pieces of classical composers down the throats of students; it is certainly a vital and influentially effective technique for some, but others have such a degree of preeminent originality that it can prove futile. For others, a bit of technological aid can help invigorate a sense of compassion for older types of music (like classical) that would have been otherwise passed over as a mundane aspect of the music curriculum.
Ben Jacobs grew up learning how to play the piano like many other children in the ‘70s and ‘80s. Being forced to study classical works in order to play them was a common theme for him, but the London-based songwriter found himself more enamored with music that was emitted from television and adverts than the type of music that he saw as little more than music created by dead composers. He certainly had a grasp on the historical relevancy and musical importance of the genre, but he simply could not find much appeal in it when he realized that he was not going to be composing modern classical music for the rest of his career. Taking note of his knack for contemporary musical trends, he purchased the then-new technology of the Commodore Amiga 500 along with some music software. Finding a solace in writing songs within a form of technology that he felt allowed for more flexibility and originality, Jacobs honed his skills for several years before he started putting out material under the name of Max Tundra. His debut release, the two-song Children at Play, was released in early 1998 after the tolerant Warp Records heard Jacobs’ fascinating mixture of electronic elements, primarily a fusion of various synths and bass lines that bordered on minimalism on each of the 12-minute tracks.
According to Jacobs, the only label who initially was interested in his music was Warp despite sending it to over 50 other labels. “Most people freaked out,” he explains. “A couple of guys made the bizarre criticism that I had too many ideas.” While this may have been occasionally true on early releases like Children at Play and the handful of subsequent EPs, he demonstrated his true ability after signing to Domino Records in 2000 when he released his debut full-length, Some Best Friend You Turned Out to Be. Receiving universal acclaim for its eclectic use of electronic pop and IDM, the result found Jacobs’ results to be considerably more cohesive when compared to his earlier efforts with standouts like “Cakes” and the minimalistic “The Balaton”. His second album, Mastered by Guy at the Exchange, saw his electronic arsenal expand even more, utilizing newly implemented instrumentation like horns and guitars over experimented genres like funk and jazz. Though early fans of Jacobs recognized him for his astute use of synthesizers, his skills as a multi-instrumentalist have also become prevalent as of late. Proficient at playing guitar, violin, trumpet, bass, and drums (just to name a few), he shows no reluctance to incorporate instruments that would otherwise sound out of place in the world of electronic pop. And once again on a new album set to be released on October 14th, his innovative songwriting and high level of production allows everything to fit with commendable precision.
Jacobs’ third full-length release under Max Tundra, Parallax Error Beheads You, is impressive in several formats. First and foremost, he appears fully confident within a style that remains wildly unique to his intended format. Incorporating a sense of softly tuned synth-pop in the vein of Scritti Politti with elements of glitch-pop and IDM, Jacobs’ stylistic range is all over the place in complementary form. “Will Get Fooled Around” begins with a conventional guitar lick as several warbles of synth emerge under the distorted textures. As he implores about finding worthwhile women on namedropped sources like Google, eBay and MySpace through concisely catchy rhythmic and melodic spurs, one can’t help but fall for Jacobs’ technological charms. As a proud student of the musical technology revolution, he makes proper use of computerized ability in both his lyrical and melodic content. “Which Song” sees his songwriting ability in fuller form as he relays a variety of shrilly engineered synths over bursting synth pads and looped rhythmic propulsions. When he heightens the pitch of his voice in accordance to a newly added synth line, a hook is established and the listener cannot help but feel a sense of electro-pop satisfaction. “The Entertainment” is more reminiscent of conventional synth-pop with several characteristics of western pop ideologies peaking through. It succeeds remarkably well though, even if it serves as arguably the most simplistic track on a release full of intricately effective ones. As for the bulk of Parallax Error Beheads You, I find it to be Jacobs’ most fulfilling release yet, much in part due to his sharpened experience and augmented stylistic capacity in the realm of electronic pop.
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Max Tundra - Which Song
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Download audio file (mtundra-whi.mp3)
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Max Tundra - Will Get Fooled Again
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Download audio file (mtundra-wil.mp3)
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Max Tundra - The Entertainment**
Download audio file (mtundra-ent.mp3)
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**TRACKS REMOVED UPON REQUEST OF ARTIST**
Thunder Power
Some acts still fail to sound cohesive after years and years of working together, but others can craft such a dedicated sound that it is heavily prevalent that only years and years of perfecting their craft together could result in such a unified sound. Thunder Power are one of those bands that makes such indications [...]
Some acts still fail to sound cohesive after years and years of working together, but others can craft such a dedicated sound that it is heavily prevalent that only years and years of perfecting their craft together could result in such a unified sound. Thunder Power are one of those bands that makes such indications easy, as their ability to emit an emotionally eclectic disposition over a consistent stylistic array is a skill that most independent artists have become less and less committed to over the years. When one undertakes their first listen of this Omaha-based four-piece, the result is neither foreign nor intimidating. In fact, even the band members themselves admit that it sounds like something vaguely “familiar that you can’t quite pinpoint – or shake off”. The source behind the inability to shake it off is quite simple, as their songs are as addictive as they come in the clashing genres of folk, pop, and rock. The sense of familiarity, though, lies more in the influences that they wear on their sleeves. Clearly students of a variety of genres ranging from wistful country to upbeat pop, their openness to a variety of styles in addition to their decades of working together has made them an act that is generating a substantial amount of buzz for all of the right reasons.
Led by the uniquely invigorating vocals of Kacynna Tompsett, Thunder Power’s usage of shimmering folk and pop allows them to sit nicely between the hordes of imaginative indie-rock acts and accessible tones of country and folk. She encompasses the type of vocals that are impossible to differentiate between a male or female singing, and I mean that in the most complementary way possible. They are simultaneously endearing and inimitably enthralling, two aspects that allow the group’s fused genres to flow with ease and compassion. The group tends to label it as “old soul” vocals, serving as an ode to the highly ardent soul greats of the past with her flexible range often contrasting well with intricate melodic arrangements and choral shifts of emotion. Such similarly notable facets of their performance allowed them to sign with Slumber Party Records earlier this year, tied with distribution purposes to Saddle Creek, another label that has become synonymous with swooping up now-distinguished indie-folk acts like Two Gallants, Orenda Fink, and the prominent Bright Eyes. Now, Thunder Power’s sound is often too contagiously upbeat to be grouped in with the melancholic folk-oriented musings of the likes of Conor Oberst, but it is certainly easy to see why both Slumber Party and Saddle Creek thought so highly of this aspiring band.
Thunder Power’s impressive debut EP, Love Yourself, was recorded primarily during the winter of 2007-2008, using a canvas display of both upbeat optimism and gloomy pessimism on the release’s 5 included tracks. Ian Aeillo, an apparent favorite over at Saddle Creek with credits that include Bright Eyes and Cursive, produced the EP. As a whole, the songs do not tend to stray too far from a formula that the group has already deemed successful with wise precision. On the standout “(Why Don’t You Go) Take a Hike?”, Tompsett’s vocals appear slightly reminiscent of the nasally yelp emitted by Clap Your Hands Say Yeah’s Alec Ounsworth. I know the comparison may seem initially odd when one takes the opposite genders into hand, but both are capable of sounding comfortably familiar within the realm of quality indie-rock with elements heavily reminiscent of pop-infused folk coming into play. “(Why Don’t You Go) Take a Hike?” is highly involved with its impressive instrumentation – a comforting mixture of sparkling keys, acoustic guitars, and soft rhythmic additives – and twangy bridge, but the simplicity found within the structure allows the listener to becomes seamlessly acquainted with the band’s stylistic make-up. “Why don’t you just leave me alone? I was doing fine, I was on my own,” Tompsett sings with a melancholic croon, hinting at the tragic effect of heartbreak. It is simply example of somber lyrics within an enjoyably upbeat melody, an effective mixture found on much of Thunder Power’s material.
Tompsett is rounded out by a group of 5 musicians who have played together for the past decade. More importantly, they claim themselves to be the best of friends, an aspect that shines nicely when the listener allows themselves to recognize how sharp the songs truly are. Multi-instrumentalist Matt Hutton, guitarist Alex Boardman, keyboardist Ian Simons, guitarist/bassist Will Simons, and drummer Jason Koba all round out her murkily powerful vocals in exuberant form, always choosing variation in appliance to which instrument is set to shine. Solos are never present here, as the concise nature of their 3-minute ballads and pop snippets is more intent on hooking the listener immediately than toying with epic proportions. “Post Script” is the most subdued track on the EP, relaying a tender electric guitar over a distant accordion as the beautiful melody later becomes complemented by the beautiful addition of an acoustic guitar. The vocals shift to Hutton’s rougher vocals during a bridge until Tompsett resurfaces over a melodic variation. For a band with multiple songwriters who are generally all multi-instrumentalists, it is a feat that is not all that surprising. The brisk “Your Pantry” is one of the most enchanting and vigorous of the handful, not reaching the infectious pinnacle of a gem like ““(Why Don’t You Go) Take a Hike?” but coming close enough with a chorus that sees a mixture of guitars and synthesized strings collide for a charming effect. Now available via Saddle Creek’s online store, Love Yourself is worth the pick-up for a band who looks to join the ranks of the label’s folk-oriented eminent talents.
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Thunder Power - (Why Don’t You Go) Take a Hike?
Download audio file (tpower-why.mp3)
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Thunder Power - Post Script
Download audio file (tpower-pos.mp3)
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Thunder Power - Your Pantry
Download audio file (tpower-you.mp3)
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Obscure Sound: Best of August 2008
As you can clearly see, August’s compilation appears to be a bit condensed when compared to the previous months. I said earlier that the transition to college has made the site’s content a bit more sporadic than usual and that remains the case, though it has come to a point where I have finally familiarized [...]
As you can clearly see, August’s compilation appears to be a bit condensed when compared to the previous months. I said earlier that the transition to college has made the site’s content a bit more sporadic than usual and that remains the case, though it has come to a point where I have finally familiarized myself with my schedule and way of life. That being said, I have enjoyed it immensely thus far and look forward to treating both readers and myself to several exciting new opportunities that are already definitively on the horizon. Starting this month, updates should resume normally with new features (more interviews, live reviews, etc.) that should add to the site’s content in supplemental form. The month of August featured about 3 or 4 less artists than I would have liked to due to time constraints, but it certainly coincides with the ideology of “quantity over quality”, as the 11 artists presented here are certainly worth the time. I hope you enjoy this month and can look forward to the weeks, months, and year ahead.
01. Department of Eagles - No One Does It Like You (post)
02. Ra Ra Riot - Dying is Fine (post)
03. Arms - Kids Aflame (post)
04. Firekites - Autumn Story (post)
05. Loquat - Sit Sideways (post)
06. The Tunics - Paris, France (post)
07. Black Gold - Detroit (post)
08. The Hush Sound - Honey (post)
09. Acorn Project - Crystal Myth (post)
10. The New Up - Broken Machine (post)
11. Alt-Ctrl-Sleep - Take Care (post)
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Alt-Ctrl-Sleep
I hate to say it, but between recently featured acts like Loquat and Faded Paper Figures, it almost seems like I am covering too many groups centered on a husband and wife. Then again though, such respective acts take neither melodramatic romanticism nor thematic desperation into the studio with them. It allows them to enter [...]
I hate to say it, but between recently featured acts like Loquat and Faded Paper Figures, it almost seems like I am covering too many groups centered on a husband and wife. Then again though, such respective acts take neither melodramatic romanticism nor thematic desperation into the studio with them. It allows them to enter whichever stylistic scene they wish without promoting their personal status to a desperate means. So, with that in mind, it should not really matter at all; the only aspect I am looking for is quality, and it is by no coincidence that a plethora of groups with some sort of matrimonial connection are breaking out in a big way. If anything, the experience gained allows for a more astute lyrical perspective, with the actual audible content occasionally being uplifted by chemistry that is as natural as one could possibly perceive. Oh, and as for the latest of this nature? Well, they go by the odd name of Alt-Ctrl-Sleep and are comprised of husband and wife duo Joe and April Diaco. Unlike what their odd choice of a name may convey, this is not some synth-powered pop music that one would deem “cute” or “bouncy”. No, no… instead, the Diacos play with a form of subdued psychedelic-pop that is more reminiscent of melancholic reflection than upbeat romanticism, a somewhat unconventional approach for a tactful duo that displays such a knack for genuine chemistry.
Despite such aforementioned focuses on melancholy, Alt-Ctrl-Sleep’s material tends to shift emotional leverages in appliance to the audible atmosphere at hand. While their eponymous debut album does show a tendency for the bleaker sides of a relationship, the effect they convey is more serene than overwhelming depressing or instantaneously chaotic. Think something in the vein of Yo La Tengo, where intricately crafted ambiance and superb pop elements collide to create an effect in which emotions are conveyed with innovation and true purpose. As stated by the two members themselves, the Diacos’ formula is incredibly simple. “Our approach to writing music is easy,” they claim. “Make it simple, melodic, and dreamy.” Writing a simplistic song has been done countless of times before, but the two latter elements are where many artists trip and stumble on their way toward hopeful stylistic virtues. It is here where Alt-Ctrl-Sleep succeed the most resoundingly, even if their choice of a name somewhat eludes me. Regardless though, they remain so impressively focused on one style and approach throughout their 16-track debut album that cohesiveness is an aspect that listeners will eventually take for granted after a few listens. Though it remains distinctively lo-fi effort at heart, Alt-Ctrl-Sleep has all the elements of a very commendable debut album, from the stylistic consistencies and high rush of emotions to the superb production and captivating songwriting.
As a listener surveys the bulk of Alt-Ctrl-Sleep for the first time, they will likely notice that it is not difficult for the album to put its receiver into a trance-like state. With a delicate rush of keys swooping in over hazy synth pads and fragile percussion, additives like acoustic guitars and varying vocal melodies merely serve to supplement overlapping progressions that form to create a wistful effect. The melodies, for the most part, are by no means robust or impressively intricate, but they never remain repetitive or overwrought with aspects overly typical of dream-pop, electronica, or shoegaze; these are all genres in which Alt-Ctrl-Sleep take pride in becoming acquainted with throughout the release. The album’s opener, “Take Care”, is actually one of the most busiest on the album despite a rhythm section and key-led progression that repeat as Joe Diaco coos tenderly simplistic lines with touches of poignancy like “Take care, you are the only one. Do you want to feel your love?” As you can hear from this track alone, the duo’s charm mainly derives from their atmospheric grasp. Joe’s wife, April, makes her presence known with subtle backing vocals and heavily prevalent keys, two aspects that she shines on throughout the album in addition to drums. Joe controls most of the electronica aspects in addition to guitars and bass, with his collaborative skills also making a mark on keyboards.
A track like “Kandy” may initially catch listeners off guard with the bare usage of an acoustic guitar, but once the trickling keys kick in over the soft percussion and Joe Diaco’s vocals enter the fold, the typical stylings of Alt-Ctrl-Sleep emerge yet again. As the longest track on the album, it is quite the risk for a band of Alt-Ctrl-Sleep’s nature, as their stylistic consistencies can tend to backfire if their methodical utilizations are overstressed. As mentioned earlier with their impressive atmospheric grasp, a track like “Sleep” demonstrates their uncanny ability extremely well. Implementing a variety of choir-like backing voices under the high shrill of organs and keys, ambient minimalism is tackled with success as the duo relays a repeating key line under the beautiful orchestration of a tranquil synth pad. As the album’s concluding effort, it serves as a final lullaby that bids the listener’s state of relaxed bliss into a farewell of sorts. The prior song, “In the End”, prepared the listener for such a momentous occasion with its fusion of acoustics and electronic pop. “In the end, the only things that hurt you just pretend to go away,” Joe Diaco sings before a beautiful set of keys, a master stroke of success that is perfectly timed within the optimistic – although blissfully soothing - mindset of the song. It is songs like this where the emotions of the duo vary to create a very consuming result, very much indicative of early dream-pop greats like Cocteau Twins and Luna. It remains too early to make such comparisons, but Alt-Ctrl-Sleep are certainly on the right track with a debut album like theirs.
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Alt-Ctrl-Sleep - Take Care
Download audio file (acsle-tak.mp3)
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Alt-Ctrl-Sleep - Kandy
Download audio file (acsle-kan.mp3)
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Alt-Ctrl-Sleep - In the End
Download audio file (acsle-int.mp3)
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Department of Eagles
A good majority of people have, at one point in their lives, been forced to live with someone who does not exactly coincide with their standards of life. Roommate horror stories can be as amusing as they are appalling, but everyone recognizes that it is a part of life that most unspoiled individuals have to [...]
A good majority of people have, at one point in their lives, been forced to live with someone who does not exactly coincide with their standards of life. Roommate horror stories can be as amusing as they are appalling, but everyone recognizes that it is a part of life that most unspoiled individuals have to go through in order to live without a larger financial burden. As someone who has just gotten accustomed to living with a roommate over the past few weeks, I know that I fortunately got lucky by having someone who is not a hassle at all. In fact, we have actually become friends in the process. As most of us know though, the chance that a random pairing of roommates who have the capability to collaborate successfully on an artistic project is minimal, mainly because it is difficult to find such a compatible individual even if you were searching on your own. When Fred Nicolaus and Daniel Rossen were assigned by NYU as roommates in their freshman year of college in 2000, they likely went through the usual semi-awkward introductions. The first few weeks may have passed by without much chemistry, but eventually when they found a common bonding point in music, they knew that luck was on their side.
The freshman duo began writing songs on a regular basis after months of rooming together, utilizing an array of samples with programs that they were not hesitant to call “pirated”. Illegal or not though, they productively honed their skills and eventually found a meeting point in their intended style. Spacey folk has remained the main force at work, though their implementation of electronica is heavily prevalent in a form that is neither overwhelming nor stylistically desperate. Throwing them into that awkwardly titled “folktronica” category may be deemed appropriate by some, but avant-garde folk with a culturally resounding influence remains the most descriptively accurate for me personally. Think about something in the ambitiously folky vein of Grizzly Bear; it actually proves to be more than a mere comparison with some supporting background information that I will explain later. Recordings that were originally designed for the ears of friends only was uplifted into something more recognizable when the California-based Isota Records swooped Rossen and Nicolaus up, now with the alias of The Whitey on the Moon UK on their side. Mo’ ‘Tussin - the EP, their debut release, was put out in 2002 by Isota, featuring an impressive cast of ardent lo-fi efforts that allowed for a peek into the duo’s stylistic potential. However, it seems that when their alias changed, their sound shifted into a more expansive display that was for the better.
After putting out three more EPs and two LPs under the name of The Whitey on the Moon UK, the duo changed their name to Department of Eagles. It was primarily done to avoid a dispute with a band based out of San Fran by the name of The Whitey on the Moon, though Department of Eagles appears to me as a more concisely memorable choice regardless. Their first two full-lengths, The Whitey on the Moon UK LP and The Cold Nose, saw some moderate success with a stylistic array of electronic pop and sample-based instrumentals, but critics often felt that the releases were too disjointed and cluttered to truly capture a consistent audience. Shortly after the release of The Whitey on the Moon UK LP in 2003, Rossen joined the up-and-coming Grizzly Bear as an additional songwriter and guitarist. He proved vital to the success of the breakthrough Yellow House, an album whose critical acclaim remains nearly unmatched in the world of contemporary indie-folk. During this time, Nicolaus was worked a normal job but kept in constant contact with Rossen, supplying constant ideas as they continued to work on material for Department of Eagles. In December, the two began to focus on their second album under the name of Department of Eagles. Enlisting Grizzly Bear’s drummer, Chris Bear, and bassist Nat Baldwin to complete the rhythm section, they named the result In Ear Park when tracking and mixing concluded in May.
While I was personally impressed with some material that Rossen and Nicolaus have collaborated on prior to In Ear Park, this album is a major stepping stone in both of their developments as songwriters. While I do imagine that much of it has to do with Rossen’s newly founded experience as one of the main songwriters for one of indie-folk’s strongest acts in Grizzly Bear, longtime fans of Department of Eagles could easily tell you that chemistry between Rossen and Nicolaus created something that was eventual, regardless of any previous breakthrough projects. The album itself was written partly as an ode to childhood, with Rossen making it a tribute of sorts to his recently deceased father. The actual “Ear Park” is a park in Los Angeles in which Rossen and his father used to visit, a touching point of significance when the song is being played. A lo-fi charmer, the duo shuffles through a series of intricately composed guitar arpeggios as Rossen relays his tender voice through a midst of backing strings and twinkling keys. The melody and instrumental capacity is astoundingly beautiful, especially when the subject is in consideration. The following track, “No One Does It Like You”, captures the essence of ‘60s pop in extravagant form. Backing vocals are exceptional here, simultaneously adding to both the rhythm section and enthralling melody in the deep and heightened tones, respectively. “Teenagers” is another key-led spectacle that later bursts into a consuming array of subtle horns and strings, highly indicative of the duo’s impeccable value on songwriting and production. When In Ear Park is released on October 7th, I strongly recommend the purchase. It is an album whose critical acclaim is imminent for good reason.
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Department of Eagles - No One Does It Like You
Download audio file (deag-noo.mp3)
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Department of Eagles - In Ear Park
Download audio file (deag-ine.mp3)
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Department of Eagles - Teenagers
Download audio file (deag-tee.mp3)
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