Matt's Track of the Week: Twins' "Drive By Digital Ghost"

Song: Drive By Digital Ghost

Artist: Twins

Album: The Other Side Of

Rating: 7.0

Although he's been getting a little buzz here and there, Twins (Matt Weiner of Brooklyn) seems like a remarkably small and relatively unknown artist. His Myspace has 2,520 hits at press time, the most listened to track on his page has 307 plays, and his last comment was on January 5th, wishing him a happy new year. So why exactly is a new Twins song something that should even be on the radar of this blog and similar publications? I couldn't tell you. But after listening to it, you'll probably be glad that someone out there is on top of their new artist news.

"Drive By Digital Ghost" is an eerie throwback to the analog 80s. Mixed between intermittent guitar strokes, whining synths and distorted create a chilling atmosphere that sounds like being trapped inside the darkest, most warped corners of your imagination. His distinctive sound here is both unique and familiar, but at all times estranged and lonely, painting a spacious, hopeless portrait of a doomed endeavor. A sonic landscape this expressive is something you don't here all too often. You can listen to and download this track (via Pitchfork). Check it out below.

Twins, "Drive By Digital Ghost" (via Pitchfork)

Pre-Screening: She & Him's Volume Two

Album: Volume Two

Artist: She & Him

Label: Merge

Rating: 7.5

It's probable that She & Him will fail to ever break new ground. The M. Ward/Zooey Deschanel project will never test any other sound, mood or subject matter. Nor are they likely to release a record unless they’ve got some good material to work with. For better or for worse, you know exactly what you’re getting from them-- no more, no less. It can be comforting at times, especially in a sea of artists who change their stripes so often.

And yet, this seems to work perfectly for the duo. So long as Deschanel continues to lend her sultry, classic voice to Ward's instrumental stylings, this cycle could conceivably continue going on forever. Or at least for now, until the conclusion of their second album Volume Two.

There is very little difference from their previous effort when you first begin exploring Volume Two. What more can be accomplished with the aforementioned pieces? Still, the duo have actually managed to extrapolate their seemingly closed and confined sound into something even more polished and sentimental than the last record. Deschanel’s voice frolics with the hopes of young love. Her gushing persona as a young girl musing about boys is simply irresistible, from the bopping opener “Thieves,” to closer “If You Can’t Sleep.” The ladder of which may very well borrow most of its premise from Bing Crosby’s “Count Your Blessings (Instead of Sheep),” but in a project like this, sometimes borrowing from classic tunes can be helpful and even encouraged in bits and pieces.

It’s that glowing charm that really carries Volume Two, even more so than its mostly-cheery predecessor. Of course, while increasingly extensive orchestration by Ward also lends to a much more grown-up and solid sound, one can’t help but notice Deschanel’s newfound fifth gear in the radiance department-- see "Lingering Still," amongst others for examples.

Amidst the breezy, open paths and winding, romantic roads we travel here, one problem does occur however. Repetition. For a large majority of the album, the two employ a pretty standard verse-chorus setup and three-minute runtime, with echoing Motown-style backing vocals for good measure. “Me and You,” “Sing,” “In the Sun”– you name it, the song will have those same elements. Besides some slight breaks such as “Home” and the aforementioned closer, many tracks can end up merging together. Since this wasn't the case on Volume One, we see it as the slightly unfortunate side effect to better production and maturity.

Still, it’s hard to fault She & Him for their songs appearing too similar to one another. Ward and Deschanel have never strived to be more than just a pleasant little pet project that (at times) resembled the 1960s, and that’s what Volume Two presented itself as. Such execution, even of their modest goals, can be appreciated and in this case, moderately celebrated. She & Him never try too hard, and it shows in how easy and pleasant an experience it is to listen to their music. Just take it for what it is, and chances are you'll enjoy what you hear.

Best Track: "Thieves" (via Pitchfork)

[Previously on Animal Noises: John's Track of the Week: She & Him's "Thieves"]

John's Track of the Week: Kisses' "Bermuda"

Song: Bermuda

Artist: Kisses

Album: The Heart of the Night Life

Rating: 7.0

Even though spring is nearly upon us, we're going to skip a season today and go straight to summer. Kisses' "Bermuda" provides all of the imagery of the beach and summer sun-- layering its breezy ocean vibe with a lo-fi pop feel. Through its bursts of bright and jovial energy, it's the type of track you can't help but bop your head along to, with a pair of shades and swimsuit on of course.

Though unsigned at current, it's doubtful Kisses will stay that way for much longer. Their sensibility for melody is extremely apparent here, and with that aforementioned seasonal change, perhaps the time is right for the L.A.-based group to be picked up. The single for "Bermuda" is due out soon, either via Transparent or Surround Sound, so with luck, a deal is in the works. Check it out for yourself below.

"Bermuda" (via Pitchfork)

Matt's Track of the Week: Drake's "Over"

Song: Over

Artist: Drake

Album: Thank Me Later

Rating: 8.0

At this point, everybody knows Drake. He's the fastest rising, young star in Hip-Hop, and a promising talent for the future of the genre as a whole. He has already had a handful of hits to his name without ever putting out a proper album, and his long-awaited debut full-length, Thank Me Later, is now just on the horizon. In the lead-up to what may very well be year two of Drake-mania, that album's first single has just hit airwaves, and the results are bold.

Like many of the other songs we've heard from Drake since he entered the mainstream consciousness, "Over" features his signature laid back singing style, partnered with larger than life orchestral arrangements on the hook. Where Drake changes things up is in the way he attacks once the beat drops. Here he seems more intense and more focused than ever before, assuring us that if we still have any doubts, they will soon be resolved, and that this is just a taste of what is in store. "Over" is a statement more than anything, and a fitting lead-off single for one of this year's most anticipated releases. Pitchfork has posted it for free download, so you can stream and/or grab it below.

Drake - "Over" (via Pitchfork)

Previously on Animal Noises: Pre-Screening: Drake's The Drought is Over: Friends With Money]

Music Video Monday: Summer Camp's "Ghost Train"

Track: Ghost Train

Artist: Summer Camp

Album: Ghost Train 7"

Year: 2010

Simplicity, or at the least the appearance of it, seems to be the norm in 2010 thus far. Same goes for Summer Camp's "Ghost Train," a track that whistles with the breeze as it methodically floats through its progressions. Yet, the song still manages to capture the imagination. Maybe its the goofy nostalgia, corny 70s background, or even "Reading Rainbow" (the show, not the band) vibe it seems to give off that makes the song just so enthralling. But the wispy dream pop track nevertheless manages to capture all our your senses and never let go.

This effect is achieved tenfold on the video for "Ghost Train." Taking its footage from 1969's Last Summer, the images of young love and the joys of teen beach vacations touch a nerve with most viewers, and keep you attentive. It's a wonder we don't see techniques like this employed more often. But then again, it's probably not all that easy to gain the rights to non-indie films, so the dearth of videos like this one probably makes sense. If you'd like to purchase the single, you can look forward to it coming out in April, via Moshi Moshi. Both the video, and the track can be found below. Plus, check out the band's blog for all kinds of odd pieces of yesteryear.

"Ghost Train" -- Summer Camp (via Pitchfork)

New Crystal Antlers Tracks, "Little Sister" and "Dead Horses"

Most probably recall Long Beach's thrashing psych-noise rockers Crystal Antlers, either from last year's Tentacles or 2008's EP. Yet, the band we see here appears to be a different group-- almost entirely, from the sound of "Little Sister." Embracing more hooky, balanced pop sensibilities, the band plays to a Julian Casablancas croon, rather than the off-kilter, loud display fans are accustomed to. Even "Dead Horses," which utilizes much of their old attack, still seems to possess these lurking pop wishes. Melodic, and reserved for the most part, the songs are sure to surprise those who've heard the band at all during the past few years.

You can hear both tracks over at Crystal Antlers' website, and download them there as well, or through this widget the band's provided below (for the price of an email address). The "Little Sister/Dead Horses" 7" will be self-released on March 9.

[Previously on Animal Noises: Weekly Top 10: Los Angeles-Area Artists]

John's Track of the Week: She & Him's "Thieves"

Song: Thieves

Artist: She & Him

Album: Volume Two

Rating: 7.0

Everyone's favorite male-female folk duo are back in 2010. She & Him, aka Zooey Deschanel and M. Ward (as if you needed such a clarification) will be releasing their second collaboration together, appropriately entitled Volume Two. Surely you all recall how successful Volume One went over, with its catchy mix of Deschanel originals and various lovelorn covers. And then there was Deschanel's 2009-- an extreme encroachment into the hipster universe if I've ever seen one. If starring in indie film (500) Days of Summer wasn't enough, she also contributed to the soundtrack, and married Death Cab For Cutie's Ben Gibbard. Quite a year for the young actress, to say the least.

The introduction to Volume Two is the swooning, elaborate "Thieves." A ballad lamenting over lost love, it brings in a conservative orchestra backing to really get the point across that this collaboration was supposed to take place about 30-40 years ago. The wishy-washy, boy-meets-girl vibe that Deschanel and Ward have managed to keep up is atypical of today's scene, becoming a welcome break from less-straightforward explorations into pop and rock conventions. You'll want to welcome them back into your life with this track. And be sure to pick up She & Him's Volume Two, out March 23 via Merge.

"Thieves" -- She & Him (via Pitchfork)

[Previously on Animal Noises: New She & Him Not-Quite-Video, "Why Do You Let Me Stay Here?"]

New Roky Erickson, "Goodbye Sweet Dreams"

In more news indirectly involving Okkervil River, the 13th Floor Elevators' legendary frontman Roky Erickson is returning with new material this year. The troubled, and oft-disturbed musician will release True Love Cast Out All Evil as his first collection of new music in 14 years. His backing band? Fellow Austinites Okkervil River. Frontman Will Sheff also produced the record, which promises to be interesting at the least, and phenomenal in a best-case scenario. You can check out the seemingly triumphant comeback track, "Goodbye Sweet Dreams" below. And be on the lookout for True Love Cast Out All Evil via Anti- on April 20.

"Goodbye Sweet Dreams" (with Okkervil River) -- Roky Erickson (via Pitchfork)

New New Pornographers, "Your Hands (Together)"

Ignoring the redundancy in the post title, The New Pornographers do, in fact, have a new record-- Together-- coming out later this Spring. The first track from said album is "Your Hands (Together)," which returns all of your favorite elements of pomp and circumstance you've come to expect and enjoy from the band, with a bit more edge to it. Perhaps it's an indication of things to come, or maybe not. Either way, there's reason to get excited about the release, as the band also employs a ton of collaborators, including Beirut's Zach Condon, Okkervil River's Will Sheff and St. Vincent's Annie Clark.

Together is out May 4 via Matador Records. You can check out "Your Hands (Together)" below.

"Your Hands (Together)" -- The New Pornographers (via Pitchfork)

New Portugal. The Man, "The Dead Dog"

As promised, Portugal. The Man will be releasing an experimental album this year entitled American Ghetto. Made more for their longtime fans, the collection is a departure from more recent work-- specifically The Satanic Satanist which came out just this past July. Their first offering from the new album however is entitled "The Dead Dog." Playing more towards classic psychedelia, a hip-hop beat and swirling samples, it looks like a return to what made the band so engaging and intrepid in their infancy. Hopefully the rest of the effort follows suit.

Check out "The Dead Dog" for the price of an email address below, courtesy of the band. And be on the lookout for Portugal. The Man's new album American Ghetto, which will be released via Equal Vision on March 2.

[Previously on Animal Noises: Best Albums of the Decade: #1-10]

Pre-Screening: Holly Miranda's Magician's Private Library

Album: Magician's Private Library

Artist: Holly Miranda

Label: XL Recordings

Rating: 8.0

The album art for Holly Miranda's solo debut Magician's Private Library may only seem appropriate for about the first 30 seconds of opening track "Forest Green Oh Forest Green." Still though, the image of the slumbering young girl lingers. For as many times as the collection bursts into majestic shows of emotion-- either through Miranda's dusky voice or the bevy of instrumentation brought in by producer Dave Sitek (of TV on the Radio)-- you're never expecting it. But that's what carries this album. Surprises-- from the unexpectedness of the effort's strong showing, to the hints at TVotR's influence and Miranda's ability to keep a dreamy pop record engaging for listeners.

Emotionally, Miranda maintains a stoic resolve of sorts. Her voice never wavers, never stresses in her most intense moments and even her happily sentimental selections ("Sleep On Fire") appear only with reserved reverence. Yet, the point is still conveyed effectively. In this regard, at least some of the credit goes out to Sitek. Miranda's looks and voice may speak for themselves, but what she needed to really set her act apart was an expert arranger, and stunning production. The Regina Spektors, Leslie Feists and Jenny Lewises of the world are immensely talented vocally, which is why all comparisons for indie-type female artists fall to them. However, in Miranda's case, her strong vocals become a compliment to the even stronger horns and orchestration. Sometimes she soars above the sounds around her, while at others, the instrumentation arrives at the front. But regardless of where it's located, you get most of your cues as to subject matter and mood from her accompaniment. They're the guide to the whole piece of work, and to focus more closely on lyrical content might be to ignore the most important part.

That being said, it doesn't necessarily mean that Magician's Private Library lacks popular appeal. While lead single "Forest Green Oh Forest Green" may only serve to display the full range of the album's talents prior to its release, tracks like "Waves" and "Sweet Dreams" also play off of some popular norms. Part of this comes from her time with The Jealous Girlfriends, who've found themselves on Grey's Anatomy twice. So she's no stranger to what creates or maintains pop appeal. But here, there's more of an unassuming air about it. Cascading horns and cooing echoes make it seem like the songs don't want to be hits outside of the construct of the album. Rather, these songs are more interested in simply existing in the confines of it all. It's a conflict that forms on any record with even a remotely broad appeal really-- there are always those tracks which seemed destined for radio play, or whatever the case may be. Due to a lack of music sales over the past decade, and listener's increasing tolerance for track licensing though, how an artist deals with these potential hits has become less of a hot topic for fans. Nonetheless, you usually know whether a song was meant to be a single, or an album track.

The album's dreamy nature comes from various sources. Miranda's dusky voice does a nice job of evoking nighttime imagery right off the bat. Plus, there are also the three tracks named for sleep in some way ("Sweet Dreams," "Everytime I Go to Sleep" and "Sleep on Fire"). And of course, the intricacies of the underlying keyboard, auxiliary percussion and appearance of soothing strings factor in as well. Mixing them all together, what results is Miranda's narration of either her life or another, through sleep. You see bouts with idealism, realization, and settling with oneself the things you want and need most. Parts may seem like a nightmare ("No One Just Is"), while "Sleep On Fire" seems to walk us out of the scene, either propelling us forward, or bringing us back to the start. I guess in hindsight, it ends up that the album cover is appropriate for the collection's entirety. The girl sleeps soundly amidst danger, but the arrows all miss her, and thus she remains safe-- a perfect symbol for the underlying narrative.

Miranda's Magician's Private Library floats, shimmers and at times, even cascades through its motions. The waves in which it moves range from delicate to turbulent, much like life, yet in the end, our narrator comes out all the better, and maybe with more perspective, too. One could definitely see why Kanye West enjoyed her music so much last year, as he himself usually tries to learn more through music (see 808s and Heartbreak). For those looking for a soothing and fresh artist, who strikes a near-perfect balance between reservedness and ambition, Holly Miranda may be your new obsession.

Best Track: "Forest Green Oh Forest Green" (via Beggar's Group)

[Previously on Animal Noises: John's Track of the Week: Holly Miranda's "Forest Green Oh Forest Green"]

New Broken Social Scene, "World Sick"

It would appear that we're in for quite a ride come May 4. Broken Social Scene, who have not released a full-length album since 2005, are finally back in action. Forgiveness Rock Record's title alone alludes to being overwhelming, and by the sounds associated with "World Sick," it's probably the most appropriate term. It's a sprawling, exploding rock anthem-- still rife with the intricate instrumentation of their other work, but somehow seeming more basic. Clocking in at nearly seven minutes, it's a lot to take in, but well worth it.

Forgiveness Rock Record is out May 4 via Arts & Crafts. But you can get "World Sick" now-- just for the price of an email address, courtesy of the band, below.

[Previously on Animal Noises: Weekly Top 10: Canadian Bands]

Pre-Screening: Local Natives' Gorilla Manor

Album: Gorilla Manor

Artist: Local Natives

Label: Frenchkiss

Rating: 7.5

Local Natives' Gorilla Manor is everything you could possibly want in a debut. It's memorable, distinctive and at times, catchy. Possessing an incredible knack for superior percussion parts, the indie rock outfit is an atypical entity in today's music world-- being driven by their percussion section. Yet, mixing that auxiliary section with elegant piano and the offsetting vocals of Taylor Rice and Kelcey Ayer, the results are overwhelmingly positive more often than not. Their shortcomings, however, lie more in their youth, rather than a lack of skill. The lengthy 12-song set begins to wear on listeners, if only because it seems that they've explored all their current sound has to offer by the end of the ninth track.

As mentioned, the album starts well enough, introducing the audience to a broad array of tracks, from the more reserved introduction "Wide Eyes," to the aggressive, "Sun Hands." While "Wide Eyes" does fail to really display the range of the collection, it does serve as a worthwhile starting point, and one of the many displays of how well the percussion truly drives the effort as a whole. In comparison, "Airplanes" and the aforementioned "Sun Hands" begin to tap in to the band's uninhibited energy and colorful instrumental backgrounds. Switching off from bright to hauntingly sentimental, the intensity quickly ratchets up and down on these tracks to create a more active and intriguing listen. Even the inclusion of revivalist group vocals on multiple tracks don't seem to slow it down, regardless of how cliche they might appear on the surface. The band restrains themselves in that regard, though they unfortunately fail to do the same during an out-of-place solo during "Sun Hands."

Towards the middle of the album, many of the songs follow a similar pattern of progression. Starting slow, hitting a crescendo, and then breaking down for a minute or so before resolution, one would think that it could grow stale rather quickly. And come the last few tracks, it clearly does. Yet here, the formula functions more as a natural progression. Bright and catchy pop single "Camera Talk" soars, along with "Shape Shifter," as testaments to the strength of both their keyboard selections and vocal prowess. Similarly, "Warning Sign" begins quietly and unassuming, before hitting its virtuoso peak as it blares a gratuitous pop vibe. If not for the lackluster "Cards & Quarters," whose only interesting attribute is some sort of pseudo-hip hop beat ambling in the backdrop, the entire midsection could easily carry the entire record.

If most listeners had their way, Gorilla Manor would end with the sentimental, yet active orchestration of "Who Knows Who Cares." Even following the same progression as most of the songs before it, the intensely gorgeous backdrop creates an emotional, heartfelt ballad that's worth the price of admission. To a first time onlooker, it would appear to be the final stunning moment for the album-- a summation of the collection overall. Sadly though, this is not the case. Though "Cubism Dream," "Stranger Things" and "Sticky Thread" are all very listenable, pleasant songs in their own rights, none can match "Who Knows Who Cares" in terms of resolve. The repetition of a similar formula finally gets to the listener, and, if you've ventured into tracks 10 through 12, you're almost discontent to have continued.

Gorilla Manor is not a bad album. On the contrary, it is a very good album, especially for a debut. If not for that final sticking point, its overall evaluation would jump tenfold-- it's hard to ignore as the album continues for over 50 minutes. More than anything though, it's for a lack of experience, rather than talent. Local Natives are obviously proficient at what they do, specifically in terms of percussion and harmonic elements, to name a few. As soon as the other pieces fall into place, they'll be sure to go from very good, to great. From what we've heard here, it's almost assured.

Best Track: "Camera Talk" (Download via Pitchfork)

[Previously on Animal Noises: Music Video Monday: Local Natives' "Airplanes"]

Pre-Screening: Yeasayer's Odd Blood

Album: Odd Blood

Artist: Yeasayer

Label: Secretly Canadian

Rating: 8.0

An exciting and eccentric collection of tracks, Yeasayer's sophomore effort Odd Blood is as imposing as it is dance-able. With a surplus of highs, and very few lows, the album seemingly flies from song to song. Its bursts of energy stop and start quickly amidst a series of cavernous sonic explosions. And lest the listener forget the continuing internal conflict that lead singer Chris Keating creates-- a bitter struggle to accept the results of decisions, and to find the ability to move on. Even in the band's youth though, these pieces all fit together seamlessly to create a thrilling audible adventure.

As alluded to earlier, Odd Blood thrives on its continuous and unrelenting energy. Though every track effectively employs its own stark and unique brand of psychedelic pop, the strongest segments come (unsurprisingly) from singles "Ambling Alp" and "O.N.E." The former sets the tone earlier, as an active and upbeat bonanza, wild and untamed through a continuous barrage of sound. At times resembling some of TV on the Radio's more daring moments, it plays off of a spiraling, contentious chorus line, always teetering on the edge of collapse. Its colorful and unique blend of sounds, however, keep it locked in place just enough, while still maintaining a certain amount of goofy flair. This carefree approach is also what keeps "O.N.E" so on point, as synths cohesively clash with 1980s pop norms to create a dance-oriented, yet introspective piece of work.

And this introspection should not get lost beneath the blaring trumpets, overpowering synths and Keating's acrobatic falsetto. "I Remember" is a floating testament to lost love, as the track's somber subject matter pits itself directly against spinning and majestic instrumental pieces. Similarly, the aforementioned "O.N.E," and "Love Me Girl" set up this emotional tossing and turning, to juxtapose it with a more entertaining and enthusiastic backing. In the latter, we see this most vividly, as the full and fast-paced song just continues to press the brilliant dance of the internal struggle for acceptance and peace. Contained in the middle of the record, the three songs fail to pitch a final verdict, but instead paint a picture of regret, the same emotion that teems through much of Odd Blood.

Beyond that, a lot of Odd Blood is spent setting and testing the boundaries of what Yesayer can accomplish. Songs can go from more methodical and deliberate ("The Children"), to wacky and mysterious ("Rome") in the blink of an eye, as experimentation seemingly runs wild. The album's final three tracks seemingly split into three separate directions, throwing listeners off the scent of what could potentially come next. While "Strange Reunions" leaps into Middle Eastern-influenced psych-rock, "Mondegreen" employs a funky, disjointed repetition that haunts as much as it soothes. In comparison, closer "Grizelda" is as subdued as Odd Blood will get, though still incessant with its chanting falsetto and rushed crescendo come the very end.

From start to finish, Yeasayer's Odd Blood gives listeners a chance to really explore their brand of experimental pop. Spontaneous and at times, mesmerizing, the collection's best moments may rank with some of the year's most outstanding forays come December. On just their second album, the group has not only established a style that works cohesively, but succeeds mightily in distinguishing it from the ever-crowded pack of indie pop groups out there. Even keeping similarities with TVOTR in mind, the band still encroaches upon their own unique sense of genre-- a humble, yet exuberant mix of electronic pop, world sounds and psychedelia yet to be effectively duplicated or imitated.

Best Track: "Ambling Alp" (via Stereogum)

[Previously on Animal Noises: New Yeasayer, "O.N.E"]