Peachcake podcast! Yet again!

Alrighty, you guys know the drill. I love Peachcake. Voilà! loves Peachcake. And coincidentally, y'all should love Peachcake, too.

SO, it turns out that there are already four episodes of the Planet Awesome podcast by Stefan from Peachcake! Hip hip hooray, right? I totally enjoyed the first and I'm fixing to download the next three. I highly suggest you do the same.
And it is now available through the easy to remember website, http://www.planetawesome.org/

HERE IS A LINK; YOU HAVE NO EXCUSE!
Planet Awesome

Okay, that is all.
I love each and every one of you.
-Arabella

Sigur Rós Take-Away

I'm a huge supporter of La Blogotheque, family friendly francophone blog de musique! Maybe it's because I pretend I'm wonderful at reading French. Maybe it's because I just love the intriguing attitude and great musical insight they have. Maybe it's because they've introduced me to folks like Priscilla Ahn and Slow Club. Maybe I just like the fact that there is nothing like these cool cats out there. Who knows, eh?

Regardless, their addition to the blogosphere which they're most hailed for is their video-performance series Concerts à emporter, en anglais, their Take-Away Shows. Over the last few years, the wild Parisians have snagged some wonderfully eclectic and unique performances by some of the best and brightest performing these days: Ra Ra Riot, Andrew Bird, Animal Collective, The Arcade Fire, Vampire Weekend, Lykke Li, and many more. And as if they couldn't do an even grander job at capturing very unique, very moving live performances lost in the streets of the French capitol, La Blogotheque has outdone themselves.

Sigur Rós. Their name is infamous these days: the enigmatic, though infectiously deep and moving band from Iceland which plays insurmountably epic tunes of the post-rock variety (or whatever other name for the genre strikes your fancy), only rivaled in renown by fellow Icelandic musician Björk. From Von, to Ágætis byrjun, the Hopelandic exploration of (), and the hugely orchestrated Takk..., Sigur Rós has come a very long way from their home of Reykjavík, but also has remained true to themselves. They humbly celebrated their many years of playing together with the release of their latest album, Með suð í eyrum við spilum endalaust, last year.

Sigur Rós is as esoteric as the Icelandic landscape anywhere away from The Ring Road, but one thing is clear: Sigur Rós does not play acoustically. Somehow, La Blogotheque wooed them into doing just that. Now Sigur Rós has met La Blogotheque's quirky style of videos in their Take-Away Show series; the collective performs a single song - "Við spilum endalaust" - at La Closerie Des Lilas, à Paris. The experience is as invigoratingly fresh and exuberant as you could ever imagine; the small room busied with patrons and clinking glasses of wine is filled to the windows and walls, brimming at the seams with very bright, organic piano alongside Jón Þór Birgisson's vibrant, illuminating falsetto juxtaposed to the deep acoustic bass and brushed drums. I can speak no more for the magic. See it for yourself, right away.



Sigur Ros - Við spilum endalaust - A Take Away Show from La Blogotheque on Vimeo.

Vote Earth! Lights Out at 8:30 PM!

It's time for Earth Hour!

Earth Hour is a celebration of the desire to keep our planet going, and an attempt to aid the massive climate change that is plaguing our world. The goal is to turn off millions of lights, all around the world, for exactly one hour. Starting at 8:30 PM in your local time, you are supposed to switch off your lights. All of them! And leave these lights off for exactly one hour, until 9:30 PM. The fact is, energy powerplants - especially coal powered, which are in the greatest number internationally - create insurmountably massive amounts of carbon emissions. These same carbon emissions are exactly what is clogging up our planet, and heating it up violently - the main premise of climate change.

By turning off your lights, you will cease all the energy your house is producing, meaning that all the carbon that it would normally take to generate that power will not be created. In other words, all that gross gunk and pollution that you're contributing to your local town won't be created! How can you complain about stopping your contribution to polluting the environment, whether you believe or disbelieve the concepts of Climate Change.

Voilà! will be participating too! As best we can, anyway. I, myself, will be turning off all the lights, as well as the television, computer, and telephones. In fact, I may just keep the lights off all day long. Voilà! will also be blacked out all day and night long! That'll be neat.

What do you have to do? When 8:30 PM comes around tomorrow night, in your respective local time, shut out all the lights in your house. Shut them all off, and keep them all off for exactly one hour, until 9:30 PM (in your respective time zone). Light some candles, turn off the TV, and play a board game, paint a picture, stargaze, take a nap, or just relax and take in the calmness. Spend one hour without the lights on... that is all that's being asked. Will you join the movement?

Band of the Week: Malajube

[March 23 - 30]

Malajube
Sounds Like: Rock-Québécois / Indie-Pop
Drinking Buddies: Bam Bam, The Pillows, Bonjour Brumaire

Synopsis: Très magnifique musique francophone de Québec pour ton oreilles!

Makes You Want To...: Learn French; Read fiction; Sing!
[Myspace]

One week, one band. You know the drill.
This week, the featured artist is Malajube.


April is an interesting month for Voilà!, or at least I think so. Last year, I started a new trend for Voilà!'s Band of the Week featurettes. Through the entire month of April, Voilà! featured the best and brightest of international musical talent. The rule was that they had to be off the North American continent (nothing from the US, Canada, or Mexico). The intention was to explore bands that trancended their country's national boundaries and the boundaries of farmiliar language with truly awesome music. And explore we did, from Europe to South America, and back to Asia, featuring some of the brightest talents out there: Yelle, Lucy & The Popsonics, Polysics, and The Whitest Boy Alive. Well, once again, dear reader, it's almost April again. It's time to prepare for a slew of foreign music, and how to learn to appreciate our combined, vast, unfathomable disparity.

But I live in North America, and without pretense, I can say that we have some greatest musicians in the world. Why not celebrate something foreign within this northernly hemisphere first? Sure, you could celebrate fiestas with the likes of Bam Bam, or the many other Mexican bands to frequently honour the Mexican-Spanish tongue. But if you begin to wander north, North America becomes Amérique du Nord, and the United States become Les États-Unis. It's the world of Québec, and though it lies firmly in the east of Canada, the national language of this province is Français, not Anglais. While Ontario brought us the likes of Kevin Drew, Owen Pallett (Final Fantasy), and the folks of Do Make Say Think, and the supercollective Broken Social Scene, it's Québec that has brought us the truly memorable bands. Stars, The Arcade Fire, Wolf Parade, Death From Above 1979, Godspeed You! Black Emperor, The Unicorns, Islands, Bell Orchestre, Tegan & Sara, and many more. And in the land in the shadow of Mont Royal, on le île de Montréal, in a sea of conflicting cultures and languages, if you do a little digging, you can find some gems still waiting to be discovered.

One of those gems is Malajube. This quirky Québec quartet make their statements as a rock-Québécois ensemble - in other words, a francophone indie-rock band. While many of their peers follows the North American aesthetic of Anglophonic music, Malajube sets themselves apart by singing all their songs in French, paying tribute to their home of Montréal. While others of Montréal like Stars ("Sad Robots") and The Arcade Fire ("Haiti," "Une Année Sans Lumière," and "Black Wave") dabble in French poetry, Malajube is 100% Québécois, savouring the language of their provincial home.

But Malajube is more than an odd Canadian import, past a profound statement from those of a bilingual culture, and beyond a cheap ploy to make a stand in a foreign language. Malajube is like any other band, in the sense that they play the music they love. Mixing a perky blend of guitars and keyboards, Malajube is the result of novelty; a unique, fluid style the brings back reminiscence of a sound only a very few can capture, like The Pillows of Japan, and Bam Bam of Mexico. With a lively - though sometimes serious - sound, Malajube brings a distinct and vibrant indie-pop sound to the musical table. Et si vous parle français, tous le meilleur pour toi! With an understanding of French, Malajube can take on a whole new meaning.

Who needs foreign bands when we have something so eclectic here in Amérique du Nord, eh? Ouais. Maintenant, Malajube is doing some extensive touring all throughout Québec, along with a couple shows in Toronto. If you're lucky enough to live in Lousianna though, you should make it a point to attend Le Festival International de Lousiane in Lafayette to catch Malajube live.

Malajube recently released their latest album, Labyrinthes, il y a février de 2009, and it's spectacular. If it's a hit you're looking for, search no further than Trompe-l'œil, which has zingers like "Montréal -40°," "Étienne d'août," and "Pâte filo." Or, you can complete your Malajube collection with Le compte complet, their freshman LP from back in the day. Of course, you can always wander to Malajube's Myspace, or you can hear them in their Daytrotter performance. If you're a more visual person though, you can also catch them in Paris avec La Blogotheque, with their performance for Une concerts à emporter. In any event, it is promised that you will be thoroughly impressed. Have a wonderful week, reader.

Review: The Hazards Of Love - The Decemberists

The Decemberists have come a long way from when their first EP was released—a simply orchestrated set of six songs that were devised of nothing more than vocals, a few guitars, some acoustic bass, accordion and perhaps an organ here or there. Across the span of four full-length albums and a few shorter EPs, the band has accrued many styles, and what seems like an entire army of support in fans. But nothing prior to this release could have even slightly prepared my ears for what they have created over the last two and a half years since The Crane Wife hit stores. And this masterpiece encompasses sounds that I couldn't have even imagined to be this same band if I hadn't heard them in years past.

The band dabbled with the idea of a concept album with The Crane Wife, when merely two songs dealt with the story in its title. But with the coming of The Hazards of Love - from start to finish - nearly one hour of music - is entirety a flood of drama, romance, revenge, and excitement, that leaves me—listener and humble fan—breathless.




I. Prelude

What begins as a small hum of sound grows continuously, and, with the addition of the organ and eventual strings, becomes a foreboding of the album as a whole. The song alone grants vision into the epic tale about to be told.

II. The Hazards of Love 1 (The Prettiest Whistles Won't Wrestle the Thistles Undone)

I heard this song played by Colin solo over the winter, and to hear it finally put together with the rest of the band is pure bliss. As the first track featuring lyrics, it gave me hope for the rest of the album that Colin hadn't lost his touch for amazing wordplay, fascinating word choice, and - as always - perfection in the voicing of his lyrics (...perhaps I'm biased). The track seems to hit a climax in the third section when the drums kick in, softly persuading me to nod my head up and down in time. And as Colin repeats: "Undone...,” and Chris' suave guitar solo exits; I am left gasping for more.

III. A Bower Scene

"Hazards of Love 1", this, and the next song played seamlessly in Colin's live renditions, but of course, were missing the additions of his ensemble. This track may be one of my favorites in the album due to the effect it plays on me. Perpetually in crescendo, it continues to create suspense, leading ultimately in each verse to the hardest riff I've heard The Decemberists even dare to play, topped off with Colin's echoing voice fading into noise, and a perfect transition into the next track.

IV. Won't Want For Love (Margaret in the Taiga)

With this song we are introduced to Margaret, voiced by Becky Stark of Lavender Diamond, whose voice penetrates even the weakest ear. The notion of using alternate voices in song to portray female characters has been used before in their songs - "Mariner's Revenge Song", "Chimbley Sweep", etc - but never before has it been used in this way, throughout the album, and so deeply focused. When listening it feels almost like an opera to which just the audio has been recorded. The attention and emotion is so evident that it makes me appreciate it that much more.

V. The Hazards of Love 2 (Wager All)

Reverting back to the first of the quarter of title tracks, we are presented with simple guitar and Colin's vocals, lightly garlanded with Chris's guitar, Nate's bass, and harmonies, and slowly accented by John's drums. Entering just after Colin echoes, "The hazards of love," are the gentle tones of Jenny's organ to serenade us into the second verse. What began as perhaps my least favorite song easily grows to woo me just as every other song has done, demanding that I sing along as loud as my lungs can allow, "I will wager all!"

VI. The Queen's Approach

In enters the Queen's character, yet not her voice, and the story begins to complicate ever so slowly. And might I add, it had been a very long time gone from banjo in this band's music, and may it stay for good.

VII. Isn't it a Lovely Night?

Voiced in duet by Becky and Colin, this song presents what little hopes one can have for light-hearted music in the album. Even the content of the lyrics is that of celebration rather than sorrow, displaying the birth of Margaret's child to William, her love. It's in times like these that I am reminded of the quirky band that I fell in love with from the beginning, when after the lyrics have passed, the waltz breaks in to serenade us a few rounds before regressing back to the story.

VIII. The Wanting Comes in Waves / Repaid

Perhaps the most complex of the album's songs, broken into four parts, as if a mirroring conversation between son and mother, we are dropped right into the thick of the Queen's plot. This song defines solely in part one's chorus the genius that is Colin Meloy, if I can be so bold. Part two (and four respectively) enters the voice of the Queen - Shara Worden of My Brightest Diamond - strong and full of depth. I was very impressed with the range she showed, from the lows in the verse, to the very high notes she belts in the pinnacle of the song. But what most impressed me was how she took on the character of the Queen. Even when merely listening to the vocals, I can feel the effort she puts in and I can see the character in my mind. It's a truly inspiring performance.

IX. An Interlude

A much needed relaxing song. Pure bliss: banjo, acoustic guitar in the foreground, echoing ambient guitar in the background, a song that reminds me very much of "Of Angels and Angles" (off of Picaresque) in its style. A great addition, especially following the emotion driven song before it, and perhaps the song it precedes as well.

X. The Rake's Song

We've all heard it, or at least I hope we've all heard it. It might be the only song from the album fit to be a single, and maybe that's why they released it a good two months prior to the LP's release. Colin reminds us with the Rake that he is amazing at creating characters we love to hear of, and yet loathe the very core. He did it with the antagonist of "Mariner's Revenge Song", or that of "The Landlord's Daughter", or the "Shankill Butchers", and he does it again with the Rake. Beautifully woven into lyric, we learn that this man married at twenty-one, watched as his wife bore three children, and on the fourth, died during the birth, taking along the unborn - and "ugly," mind you - Myfanwy. So what does he do? He kills them one by one: by poison, by drowning, and lastly, by burning. Colin's sure done it, we loathe him, but we love to hear the story told: "All right! All right! All right!"

XI. The Abduction of Margaret

Replaying to the tune of "A Bower Scene," the story of Margaret is resumed. Sort of an annex to one of my favorite songs on the album, I'm kindly rewarded with a couple more minutes to bang my head in rocking.

XII. The Queen's Rebuke / The Crossing

And oh what a joy to find that that super rock riff is itself the foundation for a song of its own, sung by none other than Shara Worden, the Queen. Delicately played slowly, and lightly harmonized by soft vocals, this song is absolutely brilliant, not to mention a pretty cool solo by Chris Funk separating the two verses, and after to bridge between the two parts of the song, in which the organ plays again a strong role. The crossing is that of the wild river, spoken of in the song prior, and to which the next song is devoted, a rival to the title of my favorite song.

XIII. Annan Water

Beginning beautifully, with light ukulele, accordion, and shakers of course, then the entering of the strong acoustic 12-string that Colin so often uses, he chants my favorite verse of the album: "Annan Water, you loom so deep and wide / I would cross over if you would stem the tide / Or build a boat that I might ford the other side / To reach the farther shore where my true love lies in wait for me." Alone this verse stands to show what beauty Colin can weave through his lyrics. The chorus of this song stands out a bit also, dropping what seems like any form of beat and rhythm, solely relying on Jenny's organ and Colin's voice to carry us, but all the more entrancing. And just as much, the brilliant solo work of Chris Funk in the interlude.

XIV. Margaret in Captivity

Back we are shown to Colin's guitar and solo voice, and a menacing feeling as Nate enters on his acoustic bass. The piece starts to find its place as Becky chants the same words Colin previously called in "Won't Want For Love." The song ends adding strings and building to a great climax fading into the next track.

XV. The Hazards of Love 3 (Revenge!)

I told you there was revenge, just not for whom. It took me a few listens, I admit, to connect this piece to the album's story, but when finally identifying its lyrics, we are given vindication for the Rake's murdered children. In what might be the band's most haunting song to date, creepy organ, somewhat odd drums and sound effects, and downright torturous strings prying at my ears, I can find solace knowing that the band has created something that no one else could even fathom, and then somehow enjoy the sinister song.

XVI. The Wanting Comes in Waves (Reprise)

Beginning to the same rocked out version of its former song in "Hazards of Love 3", this track presents itself as a very nice recovery tune, and alludes to my truly favorite song of the album.

XVII. The Hazards of Love 4 (The Drowned)

What can I say to compress such an amazing song as this? It begins with flawless guitar, perfect bass, incredible lyric work, and to a drummer, the perfect tempo for an album finisher. And with each verse, I'm convinced of its perfection, to which I'm only convinced wrong when the next verse comes, beautiful and full of emotion. Chris has an awe-inspiring slide guitar solo in between, aided by strings, giving way for my favorite of all verses: "Margaret the lapping waves are licking quietly at our ankles / Another bow, another breath, this brilliant chill's come for the shackle / With this long last rush of air we speak our vows in starry whisper / And when the waves came crashing down / he closed his eyes and softly kissed her." And with its end, softly chanting, "These hazards of love / never more will bother us," I'm almost convinced that I myself will no longer bear the burdens of love.

A Week of SXSW 2009: Bang! Bang! Eche!

[SXSW 2009]
Bang! Bang! Eche!
Sounds Like: Dance-Punk
Drinking Buddies: Death From Above 1979, The Rapture, Foals, Test Icicles
Synopsis: Volatile, vehement dance-punk echoing with feedback.
Appearances at SXSW:

• Friends (8:00 PM, March 17)
• Nueva Onda (11:30 AM, March 18)
• SXSW Party (8:00 PM, March 18)
• Maggie Mae's Rooftop (8:00 PM, March 19)
• Agave (1:45 AM, March 20)
• Bush Square Park (8:00 PM, March 20)
  

[Myspace]




All this week, Voilà! is covering South by Southwest.
Time for the seventh Voilà! featurette.
Today, the featured SXSW artist is Bang! Bang! Eche!.



The key to enjoying music - the key to finding "good music - as so many call it - is being very liberal. The key is being very open minded. Music can be as deep or as shallow as anyone wishes it. But if you're not willing to swim around the whole pool of music, you're not going to make much headway. You have to see beyond "song structure" and "noise," and look for the creativity, ingenuity, and art in the chaos. You have to see beyond geography, or languages, or tastes to truly appreciate any music you hear. But most importantly, you need to know how to have fun. That's what Bang! Bang! Eche! is all about.

These days, when you hear people chatting about New Zealand, you might guess they're gabbing about the latest hilarious antics of Flight of the Conchords. But if you're delving deep into the music scene spread out through the south-Pacific, you'll definitely be wanting to gab about Bang! Bang! Eche!. These blokes hailing from Christchurch are anything but tame; maybe you catch that drift from the exclamation marks in their name.

If you didn't, you'll be wonderfully surprised by the insanely wild stylings of Bang! Bang! Eche!, who are ready and willing to blow you and your mind right off the face of the map. Bouncing rhythms mix with bass-centric songs, along with chirping keyboards and off-kilter guitar chords, all at lightspeed. All this blares out of the speakers with the hypnotic kick-drum in the background and the lyrics begging for you to sing along. The result is a vibrantly colourful, speaker shattering sound that hints at artists like Foals, and would give Montréalais ex-band Death From Above 1979 a run for their money if they were still in the business.

And here comes Bang! Bang! Eche! like a Pacific typhoon. They've been slowly expanding to the Australian mainland with consistent airplay on Aussie station Triple J, and on several podcasts internationally. Of course, the songs off their eponymous debut EP are the topic of discussion, and Bang! Bang! Eche! refuses to disappoint, with alt-punk begging to be introduced to a dancefloor through all 17 minutes of fast-paced play time. You can drop by their Myspace to check their latest tunes! You can also snag Bang! Bang! Eche!'s EP on iTunes or through CD Baby... that is, if you don't want to get it for free from B!B!E!'s Myspace.

Now, the news from the warfront: Bang! Bang! Eche!'s invasion of Texas is tearing through the musical competition at all angles. The boys are busy-busy getting everyone in Austin to dance their hearts out. For any soldiers wanting to fight on the front lines with their latest dance moves, you can catch Bang! Bang! Eche! at Friends - 8:00 PM, on the 17th; Nueva Onda @ 11:30 AM, followed by a second show at the SXSW Party with We Have Band, The Golden Filter, French Miami, Diagonals, and Fungi Girls. Then, Bang! Bang! Eche! will perform on the 19th at Maggie Mae's Rooftop at 8:00 PM, on March 20th at Agave, early at 1:45 in the morning; finally, their last show is at 8:00 PM in Bush Square Park, during the New Zealand SXSW showcase. WHEW, that was a mouthful.




Bang Bang Eche - 4 To The Floor from Bang Bang Eche on Vimeo.

A Week of SXSW 2009: BO-PEEP

[SXSW 2009]
BO-PEEP
Sounds Like: J-Rock / Garage Punk
Drinking Buddies: Kokeshi Dolls, Fool&Scissors, The Pillows
Synopsis: A punk rock explosion from Japan.
Appearances at SXSW:

• Creekside Lounge (2:30 PM, March 19)
• Whole Foods Market Roof (3:30 PM, March 20)
• Lamberts (8:00 PM, March 20)
  

[Myspace]




All this week, Voilà! is covering South by Southwest.
Time for the sixth Voilà! featurette.
Today, the featured SXSW artist is BO-PEEP.



South by Southwest is a festival. Of course, you knew that. But my intention is to point at the extremity of this grand fête! SXSW is so huge, it contributes over 100 million dollars to the Austin economy. That means literally thousands of people, trolling the streets in search of the latest indie film, or hottest new band that nobody's ever heard of. Juxtaposed is the bands from all over the planet converging on the city to passionately play their hearts out to anyone and everyone willing to spend 30-45 minutes of their time before the crowd rushes to the next venue to catch a different artist. So much energy, so much excitement packed so closely together, it's ready to explode. That's what SXSW is like.

Coincidentally, that is the same sort of image you can see in BO-PEEP as well. It could be understood that one might question what sort of explosive contents lie within the beating hearts of a Japanese trio of girls. But don't let their femininity fool you - BO-PEEP are an extremely aggressive outfit from Tokyo. They're the type of dog that has more bite than bark. They're volatile, and will burst at the seems with all their potential energy until their entire audience is kinetic.

Filled with attitude and zeal, BO-PEEP break any language or culture barriers that lie in their way as if such invisible walls were built with paper. BO-PEEP's style draws from everyone from Nirvana, to The Pillows, to Black Flag, to the Arctic Monkeys; powerful, intense, punk-infused, loud, blaring rock that send shocks straight up and down the nervous system. You don't come across this sort of honest punk-rock these days anymore. BO-PEEP's style is one of a kind in our post-Y2K, bubblegum pop society.

BO-PEEP has a very eclectic repertoire as well, with mini-albums, 0X3 and Time of Rock, along with two full lengths, Is It Good For You?! and Sick Orange Television, all bulging at the seams with energetic J-rock. Of course they have a Myspace, but sadly they only have one full-length song. If you're looking for more of their material that is accessible, may I suggest visiting their Last.fm page? Or check out this three part live performance (un | deux | trois). And if you've been doubting this whole explosion of energy thing throughout the article, watch the last 5-7 minutes of the third live show... you'll understand.

What does this all mean when it boils back down to SXSW? Blatantly, it means you have this brief opportunity to see exactly how intensely awesome BO-PEEP can be. It's an absolute necessity to catch the gals while they are stateside. They'll be at the Creekside Lounge at 2:30 PM on March 19th for the Japan Preview Showcase (a free performance). Then on March 20th, they'll show up on the roof of the Whole Foods Market at 3:40, followed by a performance at Lamberts. Some solid chances that you definitely don't want to miss.

A Week of SXSW 2009: The Moi Non Plus

[SXSW 2009]
The Moi Non Plus
Sounds Like: Experimental / Trance / Noise Rock
Drinking Buddies: Holy Fuck, Health, Foals
Synopsis: Insanity, probably?
Appearances at SXSW:

• Music Gym - Amsterdam Outsiders Showcase (8:00 PM, March 18)
• Opal Divine's Freehouse (10:00 PM, March 18)
• AA Fleamarket [DJ set] (8:00 PM, March 19)
• MS Bea - Todd P & Ground Control Showcase (8:00 PM, March 20)
  

[Myspace]




All this week, Voilà! is covering South by Southwest.
Time for the fifth Voilà! featurette.
Today, the featured SXSW artist is The Moi Non Plus.



BOOM BOOM BOOM BOOM BOOM!
That's the bass drum. It's loud. It's wild. It's magic. It makes feet move; it makes torsos twist; it makes hips swing. It tells a band what they're doing, when they're doing it, and what they should do next, because that's the beat. That's because it keeps the beat, and be that beat slow, fast, or just disconcerting, it tells a lot about a band.

The drums tell a lot about The Moi Non Plus. This duo hailing from Amsterdam are all about blaring. Blaring guitars, blaring drums, loud loud loud, BOOM BOOM BOOM! Their tunes are dark, but very danceable. The Moi Non Plus embraces a thorough sense of musical hypnotism to entrance their listeners in a parade of eclectic, confusing movement. They use their voices and English lyrics more like intruments, adding a distorted edge to the all the guitar feedback and steady repetition Using drum and guitar samples, as well as live instrumentation, The Moi Non Plus crafts songs designed to draw the energy out of people, and let them steep in the lifeforce and souls now hanging in the air. It can be an out of body experience, or it can be a lively celebration of chaos. Your choice.

Though, dear reader, I admit I am at a loss in explaining The Moi Non Plus further. For you see, they are good at two things: making wildly awesome music, and being extremely mysterious. They have a Myspace which is irreverently inexplicit. They have live performances dotting the internet here and there. What is known, though, is that The Moi Non Plus is affiliated with Subbacultcha!, an independent label out of The Netherlands. You can get The Moi Non Plus self-titled debut album there.


SXSW 2008 is a different story, as The Moi Non Plus have quite a few scheduled appearances around the Texas capital. They are set to play at the Music Gym for the Amsterdam Outsiders Showcase at 8:00 PM, followed by a second show at Opal Divine's Freehouse for the SXSW Showcase at 10:00 PM, all on March 18th. On March 19, they are set up for a DJ set at the AA Fleamarket at 8:00. Finally on March 20, the'll be at Ms Bea, for the Todd P & Ground Control Showcase at 8:00. Make good on this brief opportunity to glimpse such a North-European mystery. Go!

A Week of SXSW 2009: Songs For Eleonor

[SXSW 2009]
Songs For Eleonor
Sounds Like: Electronica / Techno
Drinking Buddies: Hello Seahorse!, Lo-Fi-Fnk, Au Revoir Simone
Synopsis: Sentimental electronica for the deep-hearted.
Appearances at SXSW:

• Habana Bar (7:00 PM, March 18)

[Myspace]




All this week, Voilà! is covering South by Southwest.
Time for the fourth Voilà! featurette.
Today, the featured SXSW artist is Songs For Eleonor.



It's something about the way that music can make you feel things. The way it can make you move, and make you think. The ability of music to change your mood, alter your perception, and invigorate your mind is truly a powerful thing. If you allow it, music can be it's own unique form of magic; no fairy dust or wand required, just some speakers and a willingness to listen.

Lyrics are a significant piece of any song that incorporates them. A band can craft their poetry with great diligence to garner the desired effect they wish to invoke with your song; it's a bit of a science into the soul of a band's music listeners, really. And this is a science that Songs For Eleonor knows front to back. This duo from Mexico City takes on their duties of teaching the world how to love and be loved, by playing deeply textured love songs.

But don't mistake Songs For Eleonor for your run-of-the-mill electronica artist. In fact, Songs For Eleonor are quite the progressive team, very often pushing toward narrative lyrics, alongside inventive song structures that often lack choruses. The bass pulsates onward for a danceable atmosphere filled with ambient keyboard, following lighthearted, delicate melodies. The steady repetition of the rhythm is soothing in the most hypnotic sense, letting your mind wash over their words like water on the beach.

Songs For Eleonor has been busying themselves away with work on their second album. This if of course, after the release of their eponymous debut LP, released on the Mexican label Discos Termento. During South by Southwest, you can see Songs For Eleonor live on the first evening of the musical festivities - during their only performance at the festival - at the SXSW Official Showcase at the Habana Bar. Don't miss it, because the only shows the duo has scheduled for the future remain below the border. Go!

A Week of SXSW 2009: Champagne Champagne

[SXSW 2009]
Champagne Champagne
Sounds Like: Hip-Hop
Drinking Buddies: The Cool Kids, N.A.S.A., Jaguar Love
Synopsis: Foolish flows for hectic hipsters.
Appearances at SXSW:

• Red Eye Fly - Suicide Squeeze Showcase (8:00 PM, March 18)
• Long Branch - Mt. Fugi Showcase (6:00 PM, March 19)
• Beerland - Panache Day Party (3:00 PM, March 22)
  

[Myspace]




All this week, Voilà! is covering South by Southwest.
Time for the third Voilà! featurette.
Today, the featured SXSW artist is Champagne Champagne.



It's something about a groove that can get you moving. Something about a flow that speaks the feeling better than anything else. In some circumstances, no form of poetry nor diatribe can possibly compete with the flow; the rhyme. It's a magnificent feeling when the beat drops and the MC begins to break it down like a demolition site, laying down logic for you fools, kid. It's like magic, or magnetism, or something simply indescribable. And it's something that takes talent.

Champagne Champagne has talent to a scientist. But maybe that's because they have talented individuals among their ranks. Pearl Dragon is the house rapper who drops his knowledge, "rapping to the first degree." Thomas Gray compliments Pearl Dragon's style, all orchestrated by DJ Gajamagic - AKA Mark Gajadhar - AKA former member of ex-band The Blood Brothers.

It is this talented trio that fuels the fire for Champagne Champagne crew. Rockin' the house out of Seattle, the guys formed back in 2007, beginning to craft their thoughtfully provoked tunes. Tunes, tunes, songs that bubble like fresh champagne out of the bottle, blasting out and spewing across the room, lively and festive. Champagne Champagne is tangy in a may that makes you want to go, "WOO!" after having a just a little. And it all goes down smooth.

Champagne Champagne has one album so far, self-titled, filled to the brim lyrics of the sass and sarcastic. You can catch this, along with plenty of their tunes, off of their Myspace. When it comes to shows down in South by Southwest, you can see the trio first on March 18 at the SXSW Suicide Squeeze Showcase, around 8:00 PM at the Red Eye Fly. On Thursday - March 19 - they'll be at the Mt Fugi Showcase at Long Branch, performing at 6:00 PM; Champagne Champagne may be playing on the 20th and 21st, but are definitely set to perform at Beerland for the Panache Day Party at 3:00 PM. Performances you won't want to miss!

A Week of SXSW 2009: Eli "Paperboy" Reed & The True Loves

[SXSW 2009]
Eli "Paperboy" Reed & The True Loves
Sounds Like: Soul / Funk
Drinking Buddies: Sly & The Family Stone, James Brown, The Blues Brother Band.
Synopsis: YEEAAAAAAAAAAAAAAAAAAAAAAAAAAAHH!
Appearances at SXSW:

• Sonny's Vintage Party [2928 Guadalupe St.] (6:30 PM, March 18]
• Continental Club (11:45 PM, March 18)
• Room 710 (2:00 PM, March 19)
• Peckerheads [My Old Kentucky Blog / Aquarium Drunkard Party] (7:00 PM, March 19)
• The Pure Volume House (11:45 PM, March 19)
• The Four Seasons [KGSR 107.1 FM Live] (7:00 AM, March 20)
• The Gingerman (6:00 PM, March 20)
• The Continental Club (10:00 PM, March 20)
• Jovitas (5:00 PM, March 21)
• Clementine Coffee House (11:00 PM, March 21)
  

[Myspace]




All this week, Voilà! is covering South by Southwest.
Time for the second Voilà! featurette.
Today, the featured SXSW artist is Eli "Paperboy" Reed & The True Love.



Difference is key. Being different definitely sets you apart, and that difference can draw all kinds of attention. Going against the grain is what South by Southwest is all about; featuring the latest and greatest who aren't mainstream; the many and proud participants in independent music culture. Genre, style? Hogwash! It doesn't matter while surrounded by the throngs of people in Austin; all they're concerned about is hearing good music, be it modern or retro.

If you happen to be looking for something eclectic outside of the quote-unquote "indie rock scene," whatever that is exactly, all you have to do is a little listening and looking. Then you'll find some jive turkeys like Eli Reed, and his travelling troupe of troubadours, The True Loves. These guys are a blast from the past straight into the present; if you - for whatever reason - stopped listening to all forms of music since the mid 1970s, and Eli Reed was the first thing you had, you might find it hard pressed to admit 40s years have passed.

Truth be told, Eli Reed & The True Loves play a completely retro style of funk and soul, with a bluesy twinge. Complete with uppity guitar solos, a whole brass section that would make Beirut swoon, and a voice that rivals Sly Stone. And it isn't just the comparisons that are close; Eli "Paperboy" Reed & The True Loves are a wonderful, near perfect, modern representation of the funk movement. Filled with energy and attitude, how can you go wrong? The folks have two albums out, which I believe can be purchased right now off of Amazon.com.

Concerning South by Southwest, which helped launch the gang back in 2007, you'll have no shortage of opportunites to catch them live. Excuse the following run-on sentence: you can catch Eli "Paperboy" Reed & The True Loves at Sonny's Vintage Party (2928 Guadalupe St.) for free at 6:30 PM, as well at the Continental Club's Official SXSW Showcase at 11:45 PM all on March 18th; at Room 710 for the Pirate Radio Party at 2:00 PM, followed by the My Old Kentucky Blog / Aquarium Dunkard Party at Peckerheads, starting at 7:00 PM, along with the Photo Finish Records Party at The Pure Volume House around 11:45 PM on MArch 19th. Then, there's the live radio session on KGSR 107.1 FM at 7:00 AM, live at the Four Seasons, the Dogfish Head Brewery Party at The Gingerman around 6:00 PM, and the Ponderosa Stomp at The Continental Club at 10:00 PM all on the 20th. And as if this paragraph couldn't get longer, you can see more shows on March 21st at Jovitas around 5:00 PM, followed by their final performacnce of SXSW at the Clementine Coffee House at 11:00 PM.

So don't say you don't have a chance to catch Eli "Paperboy" Reed & The True Loves. Because that would be such a lie! Get goin'!

A Week of SXSW 2009: Phosphorescent

[SXSW 2009]
Phosphorescent
Sounds Like: Folk
Drinking Buddies: Iron & Wine, Mount Eerie, Bon Iver
Synopsis: A quiet expression of introspection.
Appearances at SXSW:

• Club de Ville (11:59 PM, March 18)
• The Mohawk (9:40 PM, March 19)
• Mrs Bea's (3:00 PM, March 19)
• Red Eyed Fly (4:20 PM, March 20)
  

[Myspace]




All this week, Voilà! is covering South by Southwest.
Time for the first Voilà! featurette.
Today, the featured SXSW artist is Phosphorescent.



Folk music is sometimes not given its due and proper. Sure, there are plenty of people who pay tribute to the wonderful genre, from more modern forms like Thao with The Get Down Stay Down and Miles Benjamin Anthony Robinson, to more traditional styles from bands like Bon Iver and Okkervil River. But largely, beyond these break-out artists, many don't pay mind to such traditional song-making, a very low-key, lo-fi song making. The song making that represents the people. Real people in real places, with real things to say.

Phosphorescent is one of those sort of bands: a band with something real to say. The solo project of Matthew Houck expresses the thoughts and experiences of the kind of guy who's good at singin' it out, rather than speaking it. With a blend of traditional folk elements along with an country twang, Phosphorescent - with its full band sound - presents a very vibrant, imaginative sound that stands unique in American folk artists.

Their tunes are laid back and calm, almost soothing. Phosphorescent is good at down tempo, and good at understanding the value in quiet and laid back. Their songs are relaxing: songs about drinking to drink to - songs about love to be in love to - songs about singing and having fun to sing and have fun to. Phosphorescent is all about coming together and enjoying something simple, real, and uniquely, passionately beautiful. Phosphorescent has quite a few albums, their most hailed being Aw Come Aw Wry, and are currently working on brand new LP, titled To Willie. You can listen to and purchase Houck's music right off of his Myspace.

For those braving the wild streets of Austin, Texas, for the South by Southwest festival, you'll have quite a few opportunites to catch them. Firstly, on March 18th, you can catch a special "To Willie performance at Club de Ville at 11:59 PM (this may even be a record debut). March 19th will have Phosphorescent at Mrs Bea's for Todd P's Party at 3:00 PM, followed by a performance at The Mohawk for the Dead Oceans Showcase at 9:40 PM. And to round out the fesetitivties of SXSW, there will be one last shows at the Red Eyed Fly for the Little Radio Dayshow, at 4:20 on March 20. Pick up a drink, and get that singin' voice ready.

A Week of SXSW 2009

It's time! South By South West. Possibly the biggest event in independent music. At this very moment, hundreds of bands and thousands of listeners are converging to the hotels of Austin, Texas, for a gathering of epic proportions.

SXSW is legendary - some of the hottest bands you've never heard of get their start right in the midst of the bars of Austin. Getting to play at South By South West and being heard by some of the most influential people in the music business who troll the streets with the streams of everyday music listeners, avid fans, and music blogging aficionados is like shining a spotlight to their (possible) future stardom.

But there is one fact that is unavoidable: THERE ARE A LOT OF BANDS.
You can try to imagine it, but the imagination doesn't encompass just how many bands go and play there, in the span of a short week. It's an overloading of the musical senses. Furthermore, if you're on the streets like a commando of indie music yourself, it's tough to know even where to begin listening. How do you start? Where do you go? Well Voilà! will attempt to be a guide for your eager ears while in the Texas capital.

Most music blogs write in-depth previews, reviews, overviews, and other views, all throughout the week of SXSW. Other blog-writers are also in the midst of it all. I, on the other hand, am not, nor have even been in the past (much to my loathing/envy/jealousy). So, once again, I pick up what I can from here. But there is plenty to pick up, I assure.

Sifting slowly through the torrent of musical troubadours descending south, I have picked some of my favourites that are must sees while at SXSW, most of which are new and rising stars. And this suggestion list I endow to thee, whether you are on the front lines, are stuck at your computer screen like myself. I will also be featuring SXSW artists all week long here on Voilà! - can you say seven featured bands?! I hope you can, cause that's the dish that's being served. Be sure to check back at Voilà! everyday this week (starting Wednesday) for updates!

But granted, I'm only one lowly writer, and there are way too many bands for me to give their due and proper to. To compensate, in this post, you can see Voilà!'s suggested line-up of the latest and greatest talent that will be playing in Austin sometime during SXSW. Some old favourites from last year's SXSW, some old Voilà! feature artists, and some new talent! How can you not be excited? To see any of the artists' dates is SXSW, just follow their appropriated links.


You have to celebrate the differences to truly enjoy what you're listening to. And that's what SXSW is all about. There are no rules, and there are no boundaries. Everyone who wants to make a name for themselves goes to SXSW, no matter what sort of music they play. All you need is a wristband. Maybe that's a theme of this year's SXSW artists: the ability to be resoundingly different and unique; the willingness to stand out of the crowd and sing/shout/scream at the top of their lungs and say, "WE'RE DIFFERENT!" Maybe that's the theme of this year's featured artists... maybe not. Maybe that was just an accident. But a joyful accident, eh?


Last chance for homework everyone! Plan your schedules, pack some water, get that adrenaline pumping, and wait just a little longer. South by Southwest 2009 is almost here...





Feature Artists for SXSW Week 2009


Bang! Bang! Eche!

• Friends (8:00 PM, March 17)
• Nueva Onda (11:30 AM, March 18)
• SXSW Party (8:00 PM, March 18)
• Maggie Mae's Rooftop (8:00 PM, March 19)
• Agave (1:45 AM, March 20)
• Bush Square Park (8:00 PM, March 20)

BO-PEEP

• Creekside Lounge (2:30 PM, March 19)
• Whole Foods Market Roof (3:30 PM, March 20)
• Lamberts (8:00 PM, March 20)

Champagne Champagne

• Red Eye Fly - Suicide Squeeze Showcase (8:00 PM, March 18)
• Long Branch - Mt. Fugi Showcase (6:00 PM, March 19)
• Beerland - Panache Day Party (3:00 PM, March 22)

Phosphorescent

• Club de Ville (11:59 PM, March 18)
• The Mohawk (9:40 PM, March 19)
• Mrs Bea's (3:00 PM, March 19)
• Red Eyed Fly (4:20 PM, March 20)

Eli Paperboy Reed & The True Loves

• Sonny's Vintage Party [2928 Guadalupe St.] (6:30 PM, March 18]
• Continental Club (11:45 PM, March 18)
• Room 710 (2:00 PM, March 19)
• Peckerheads [My Old Kentucky Blog / Aquarium Drunkard Party] (7:00 PM, March 19)
• The Pure Volume House (11:45 PM, March 19)
• The Four Seasons [KGSR 107.1 FM Live] (7:00 AM, March 20)
• The Gingerman (6:00 PM, March 20)
• The Continental Club (10:00 PM, March 20)
• Jovitas (5:00 PM, March 21)
• Clementine Coffee House (11:00 PM, March 21)

Songs For Eleonor

• Habana Bar (7:00 PM, March 18)

The Moi Non Plus

• Music Gym - Amsterdam Outsiders Showcase (8:00 PM, March 18)
• Opal Divine's Freehouse (10:00 PM, March 18)
• AA Fleamarket [DJ set] (8:00 PM, March 19)
• MS Bea - Todd P & Ground Control Showcase (8:00 PM, March 20)

___________________________________________

Ol' Voilà! Favourites Attending SXSW 2009


Bam Bam
Fanfarlo
Pterodactyl
The Octopus Project
Via Audio
Red Cortez (formerly The Weather Underground)
The Soft Pack (formerly The Muslims)
No Kids
Thao with The Get Down Stay Down
Jaguar Love
Miles Benjamin Anthony Robinson
Yelle
Ra Ra Riot


___________________________________________


Voilà! Must-See 2009 Bands


Foals
Parenthetical Girls
Loch Lomond
DD/MM/YYYY
Juliette & The New Romantiques
Underwater Tea Party
Post War Years
Zolof the Rock and Roll Destroyer
Hymns
Sprengjuhöllin
Tokyo Sex Destruction
Natccu
Kevin Devine & The Goddamn Band
Sky Larkin
Clã

Fanfarlo Frivolity

I love Fanfarlo. They're so eclectic, with a wonderful, truly unique sound; a vibrant indie pop coloured with intriguing instrumentation that easily distinguishes them from their peers. Their lyrics are jovial and bubbly without losing any integrity, insight, or creativity. I don't mention them on Voilà! as much as I wish I did. But to make up for any lost time, it's time for a big Fanfarlo update!

Firstly, and undubiously most important, the London-based ensemble has released their first full-length LP! That's right, folks, Reservoir - the long awaited record by Fanfarlo - is finally out and about for your musically consumptive pleasures. I'm not going to go into much detail about the album, since I'm planning a formal review later; know now that it is every bit as lively as Fanfarlo represents themselves. Reservoir is something you don't want to miss for a second longer than necessary. Right now, you can get a copy either at a Fanfarlo gig, or via iTunes, for (as Fanfarlo says themselves) "mega-cheap." Go get it, with haste, dear reader!

Deuxième, if you've been following our blithe Brits, you'll know all about "Harold T. Wilkins, or How to Wait for a Very Long Time." This quirky ditty based off of the journalist/historian of the same name (Wikipedia is the source of all knowledge) was originally released by Fanfarlo on their split 7" single with their mates in Sleeping States back in the day. With it being prominently featured on Reservoir, Fanfarlo sought it fit to endow such a lovely song with a music video! And so it is, that the video for "Harold T. Wilkins..." was released! It involves scientists, laboratories, the paranormal, oddity?, and of course, one of the neatest tunes by Fanfarlo. You can see it right now on Fanfarlo's official website, Myspace, or YouTube!

Troisième, Fanfarlo is touring! As if a few gigs around the United Kingdom wasn't exciting enough, as it turns out, Fanfarlo was lucky enough to support the major recording artists neighbours from the north, Snow Patrol. How this magic came is anyone's managerial guess. But regardless, the ensuing excitement at prospectively seeing Fanfarlo live should be enough to get your heartbeat racing. For those of us not lucky enough to grace the lands of Glasgow, Manchester, or London, you'll be enthused to learn that Fanfarlo are one of the many amazing bands set to be gracing SXSW 2009, this coming week! Here's a quick list of their confirmed appearances:

• March 19 - 1:45 PM - Moshi Moshi Party! (Redhouse Pizzeria, 1917 Manor Road) [free show!]
• March 20 - 3:30 PM - Soundcheck Magazine Party (600 REd River Street) [free show!]
• March 20 - 9:00 PM - Showcase @ Presbyterian Church (200 E. 8th St.)
• March 21 - 3:00 PM - Q Magazine Party @ The Parish (214 East 6th Street)
  

Lastly, as of several weeks from the posting of this article, Fanfarlo earned themselves some airtime on the telly! Turns out the UK station Channel M of Manchester knows who makes some of the best music in the British Isles; Fanfarlo showed up in the Channel M studios to perform five songs off of Reservoir for your listening (and viewing) pleasures. Unless you're lucky enough to get Channel M on your television set, you can catch Fanfarlo's entire live performance right here on Voilà!.

If this is not the perfect celebration of all things Fanfarlo, reader, I certainly don't know what is. Snag Reservoir from iTunes, see "Harold T. Wilkins..." on YouTube, and watch Fanfarlo's live performance on Channel M here! Go!

The Mudbloods sur iTunes!

Talk about underground music scenes. Sure, you can blabber about how independent bands like The Muslims, Tacks, The Boy Disaster, or Math and Physics Club 'til the cows come home. And Le National à Montréal, Subterranean à Chicago, or Gypsy Tea Room (RIP) à Dallas may be the hot spots for indie music all around the culture in your eyes. But if you aren't haunting about libraries all across the country, or happily dawning wizard robes and singing about canon from the wizarding world, you can't fully grasp what indie is. That's because the wizard rock genre is busying itself about almost completely off the radar, eschewing all forms of mainstream attention, and thriving through self-promotion between recording artists and die-hard wrock fans.

Whether you've heard of wizard rock, are still learning, or are a veteran of the wrock scene, it can easily be suggested that you n never complain about receiving a healthy auditary dose of some music by The Mudbloods in your life. Drawing from the contemporary artists (like The Shins, The Decemberists, Sufjan Stevens), The Mudbloods craft a bouncy, fun, colourful style of Wizard Rock with that quirky Austin, Texas flair that that so many have come to expect.

But heretofore, it's been neigh impossible to knab yourself any of The Mudbloods' albums, just because they're such a homemade operation. Now, though, we are given a saving grace: The Mudbloods have now released both their debut LP Out of the Forbidden Forest and their animalistically conceptual EP Animals That Have Left Me, on iTunes! You can now celebrate all the magical goodness that is The Mudbloods' repertoire. Well... there was A War Amidst Pop Songs, their latest EP... but it seems we'll have to wait a little longer to catch that rarity. Hit up iTunes right away to catch The Mudbloods two albums now.

Bell Orchestre's Sophomore Release Drops Today

Mystical things. Mystical things that are very natural and normal. Light snow on a dark night that's lit up by the fresh layer on the ground. A beach in the rain. A forest at noon on an overcast day, when all the animals are napping. A chilly Montréal street at dawn, church bells in the distance. Things that are beautiful because they are, and wouldn't be beautiful at any other fleeting moment. The sort of mystical image that is never as perfect as in our imagination.

That's what happens when Bell Orchestre picks up their instruments and soothes their listeners with waves of euphoric, symphonic beauty, artistically textured with the greatest diligence. Their songs contain a very organic beauty, a sound which fluidly shifts between between abstract and tangible; between thought-provoking and light-hearted.

Bell Orchestre's eponymous, original, unreleased demo is a lesson in conceptuality, while their glorious release, Recording a Tape the Colour of the Light, is Bell Orchestre celebrating their unique creativity. Four years have passed since the release of Recording a Tape..., a very lonely four years, without a peep from the Canadian collective, as far as new music is concerned. But 2009 is the year for all that is new, and today, Bell Orchestre proudly presents their brand new album, As Seen Through Windows.

I leave the musical analysis to you, as you can catch plenty of new songs from As Seen Through Windows on Bell Orchestre's Myspace. I'm here to pass on the good news of Canadian record labels. That is to say, Bell Orchestre has just recently signed with Arts & Crafts Records (notorious for releasing the likes of Broken Social Scene, The Most Serene Republic, Los Campesinos!, and Stars (among others)), and now join a hefty, and very supportive alumni.

You can pick up As Seen Through Windows straight from Arts & Crafts if you'd like. Or you can hear the latest from Bell Orchestre right now on their Myspace. If you're looking for something a bit more enthralling, then you can wander over to The Torture Garden, where an interview of Richard Reed Perry was featured recently; along with the interview are a couple songs Bell Orchestre recording for Q the Podcast, live versions of "Dark Lights" and "Water/Light/Shifts," both off of As Seen Through Windows. Of course, you can snag Recording a Tape the Colour of the Light, which is assuredly a good investment, along with their unreleased demo, which you can find out more about here. If you're lucky enough to live in the Québec and Ontario provinces, you'll be happy to know that Bell Orchestre will be playing live shows at a venue near you very soon! Finally, you can check out Bell Orchestre's official site, loaded with plenty of goodies, along with a video blog of Bell Orchestre's recent voyage in Europe. Quickly, off with ye, with haste, dear reader!

Review: Mama, I'm Swollen - Cursive

I am a huge Cursive fan. I began listening to them when I was in seventh grade (mind you I am now a high school senior), with songs from a mixed CD that a good friend made for me. She later burned me copies of The Ugly Organ and Domestica, both of which I listened to incessantly. I was obsessed. I still list The Ugly Organ in my top five most influential CDs - ones that changed me, got me through hard times, and were just plain good.

When I was at the end of my eighth grade year, I saw Cursive (as well as my favorite poet, Saul Williams) on the Plea for Peace tour at Trees in Dallas. It was the most beautiful musical experience I had ever had. I nearly cried. And of course, I was in eighth grade and had not experienced much live music, so I may have just been overwhelmed by everything... but their performance struck a chord in my heart.

The newest addition to their repertoire, Mama, I'm Swollen, does not disappoint. "Let Me Up" has dynamic contrast comparable to that of "The Lament of Pretty Baby", with soft whispers and builds up to big bangs. My favorite song on the album is the CD's (I suppose) namesake, "Mama, I'm Swollen". The verse, "Born 'neath the blood red sun" is haunting and is always running through my mind.

I know the actual description of the CD is short; I'm listening to it. I'm distracted. I love it more than any words I can write. I am thrilled that Cursive still has it in them. Buy it, right now. It's really inexpensive online, and 100000% worth it. Yes, I know that there is no such percentage.

Thank you for reading! Dosvedanya, mio bombinos!

Review: Tonight: Franz Ferdinand - Franz Ferdinand

Consistency is a fickle thing, especially in the music business. You build a rapport with your initial fans, of course. You debut your band to the world, because you have this awesome, unique sound, which you know people will like, and you're dying to share. Then comes the tricky part. Because music is like an art form, and the only way it's really interesting is if it's constantly evolving. You want to advance your style, to attract a new, broader audience, but don't want to lose your true fans who have supported your collective through thick and thin. Plenty of bands struggle with this difficult decision - the decision of changing to make their sound better, or choosing not to fix something that isn't broken - and both roads are well travelled.


But there is one band whose style, grace, eclectic nature, and wonderfully fun musical vibrancy which has done the unheard of: they have maintained the musical stylings that they began their career with, while maturing and evolving their musical expressions into a sexy, smooth, sleek sound that continues to impress. They have entirely usurped the cliché that a band can not remain themselves with any amount of consistency as they continue to grow and make new, grandiose musical hits. They effortless set themselves apart from their peers with their distinct sound and exciting presentation and image. Though, I guess these things come naturally when you name yourself after Austrian Archdukes. This band is, in fact, Franz Ferdinand, after all.

Some may not remember, but back in the day (we're talking 2004, folks), if you had your eye out for new music - and kept aforementioned eyes pinned to the telly - you were likely to have caught wind of a certain new music that was causing a lot of chatter amongst musically intrigued. Something about a fabulously directed video, using tons of abstract images, and quirky, vintage looking pop-art. The song had an incredibly addictive beat, and the lyrics quite a blast to sing along to. And all anyone really knew was that the song belonged to some impeccably dressed band from Scotland who nobody really ever heard of.

Franz Ferdinand certainly has come quite a long way from their eponymous freshman release and songs like "Take Me Out" and "The Dark of the Matinée." After about seven years, which have led these folks all around the world playing their danceable art rock, Franz Ferdinand has come full circle in their sound with the release of their third album, Tonight: Franz Ferdinand. For the die-hard fan who has been listening since the release of Franz Ferdinand, Tonight presents a definite change in Franz Ferdinand's sound. But of course, sound was a big issue to be addressed by the band.

They point this out in their mini-documentary for Tonight: Franz Ferdinand. "Part of the evolution of a band is developing a sound and an identity.... if you're going to move on, you're going to have to lose certain elements of your previous sound." Indeed, Franz Ferdinand planned the change, and the change shows. Tonight emphasizes a strong element of electronic instrumentation, taking away from the odd aesthetic of off-kilter chords and wild guitar strumming that Franz Ferdinand built their sound upon in the past. "We used a lot more electronic gear on this record, but we tried to play it live as a band."

This natural element shines forth in Tonight as well. Every song on the record sounds vibrant, novel, and crisp. But the shift in style goes beyond Franz Ferdinand's evolution of from aesthetics, into the ideals of a switch in mood. You Could Have It So Much Better had "Fade Together," and "Eleanor Put Your Boots Back On," both songs which were more sombre and toned down for the Scottish quartet's usual styles. None of this same sort of calm sentimentalism on Tonight; this is part of the skin Franz Ferdinand has shed in their evolution. Tonight ends in a sort of quiet reflection with "Dream Again," and an almost perky love ditty, "Katherine Kiss Me." And these are the only two exceptions on the record.

The rest of the album is a sheer torrent of dancing, sweating, and feisty belligerence. In the same way Architecture In Helsinki separated from their original sound on Places Like This, Franz Ferdinand opted that Tonight should express two ideals very concretely: raucous fun and rampant frivolity. 'Come on, let's get high. Well, I'm bored... I'm bored. Let's get high!' chants the lyrics of "Ulysses" as the introduction song builds until it blasts straight into a chorus of wild parties and drunken nights of soaking rain lost in downtown Glasgow. And, how do they say? 'The night is still young.' Indeed, Tonight is still young after the last squeaks and squeals trail off at "Ulysses'" end. Then your hurled through a hurricane of dance-rock-art-pop rock that is scientifically crafted to make your body move.

Heavy in bass and electronic keyboards, among other abstract ambient noises which add a thorough density, Tonight is a steady, invigorating, enlivening lecture in fêtes. Franz Ferdinand's past style has always been somewhat danceable, but extravagantly boisterous, attitude packed anthems like "Turn It On," "No You Girls," and "What She Came For," are the sort of songs that make club DJs drool and leave listeners weak at the knees. And this doesn't even begin to touch on how expressive Tonight. As Alex Kapranos says, "Tonight: Franz Ferdinand is music... to fling yourself around your room to as you psyche yourself for a night of hedonism, for the dance-floor, flirtation, for your desolate heart-stop, for losing it and loving losing it, for the chemical surge in your bloodstream. Its for that lonely hour gently rocking yourself waiting for dawn and it all to be even again."

The entire album boils down to "Lucid Dream," which is possibly Franz Ferdinand's most experimental song to date. Beginning in an almost reminiscent mood, recollective of something on the tame side, such as "Walk Away," "Lucid Dream" breaks out of its shells into a devilish, disorienting, hypnotic four-minute long instrumental that will break the bass on any speaker that has reached the appropriate volume. A song you'd expect off !!!'s latest album. It's a trip, to explicate as eloquently as possible. But all the while, throughout Franz Ferdinand's graphic changes, they have retained a certain part of themselves. Something distinct, unique, to the surreptitious to these silly Scots. While their new sound is different, it will certainly not detract any lovers of everything that is Franz Ferdinand.

They say things are "changing for the better." Sometimes change isn't a good thing, sure. But they also say that sometimes, you can have "too much of a good thing." That's the story of Franz Ferdinand: too much of a good thing, so they made it better. Tonight: Franz Ferdinand is a rowdy and boisterous celebration of partying, and is a record that can't be missed those under the beat of the dancing hearts.

Band of the Week: The A-B Theory

[March 2 - 8]

The A-B Theory
Sounds Like: Electronica / Pop
Drinking Buddies: PlayRadioPlay!, All About Max, The Postal Service

Synopsis: Perky pop music for your preferential pleasure.

Makes You Want To...: Sing; Dance; Use headphones.
[Myspace]

One week, one band. You know the drill.
This week, the featured artist is The A-B Theory.


It's a fickle thing, pop music. What it is, well, that's anybody's guess; it changes constantly, in a fervently continuous state of evolution. What is known about it, is that it has a certain style - some strange additive somewhere between the bubbly melodies and carefree rhythms - a strange ability, that allows it to dive straight into the emotions of our heart and toy with our thoughts and feelings for some sort of internal effect on a massive scale. Or maybe, it just makes us dance. Who really can tell the intricacies of the genre are obviously more intelligent than I, but as music listeners, we're lucky to indulge in something so unique and musically intriguing.

Maybe Jesse Smith is one of these pop-geniuses? I wouldn't know, but one thing is for certain, and that is that The A-B Theory is a wonderfully eclectic outfit. The single man outfit of Jesse Smith, The A-B Theory, is a novel world of quirky electronica and indie-pop, out of the busy city of Dallas, Texas. Taking some sort of strange mix between Hellogoodbye and The Album Leaf, The A-B Theory brings an eclectic, steady style of electronic-based love songs to a sometime's labeled "cliché" genre.

But The A-B Theory, if we're comparing pop music to tasty treats, is not bubblegum nor cotton candy. It has a little more substance - something more filling - ice cream. His sound is creamy, smooth, and relaxed, with lots of conceptual meaning and vibrant imagery. Too foody of a description? Let's try it this way: The A-B Theory's sound is diligently crafted to bring a smile to your face and a tap to your foot through lighthearted, carefree, nearly natural notes played through the keyboard and sung through the microphone straight out of your speakers.

Maybe that was a bit too conceptual too. But Jesse Smith can be a conceptual guy if you let him off his leash. Off the leash, in fact, is exactly where The A-B Theory is right now, as Smith bussies himself with his upcoming album, entitled House. And as it seems, Jesse Smith is blending the creative minds of The A-B Theory with the wildly quirky mind of Dan Hunter and PlayRadioPlay! for this latest release. With aid from PlayRadioPlay, The A-B Theory is seeking a less polished pop than he persued before. Interesting changes for an interesting outfit.

Sure, The A-B Theory is busy crafting a new album, but what does that mean for us humble listeners? Well, it means we have to do our homework. The first assignment is to indulge in The A-B Theory's premier album, Illusions, which is available at iTunes, Amazon.com, and other fine online retailers. Then, you can drop a hello at The A-B Theory's Myspace, and check out tons of his songs from Illusions for your streaming indulgence. Finally, there's a neat interview of Jesse Smith by Alternative Press, which you can read right here.

Your homework is due by the time House is released. And don't forget to study your lyrics from Illusions for the test. Keep your ears to the speakers, reader. And have a nice week!