Tuesday's Releases (2/16): Now Streaming

Hopefully this collection of records is just the beginning of what should be a decent week for music listening. Among those unrepresented at the moment are Dan Black, Tindersticks and Peter Gabriel (amongst others)-- but with luck, this will change, and we'll be sure to update this section as it does. The album streams below are brought to you courtesy of Spinner, unless marked otherwise. As always, credit for the original idea goes out to LargeHeartedBoy.

• Life Is Sweet! Nice to Meet You. -- Lightspeed Champion (via MySpace)
• Gorilla Manor -- Local Natives (via NPR)
• Everybody Knows -- The Go Find
• Journal of Ardency -- Class Actress (out February 9)
• Back to Light -- Bomb the Bass (out March 2)

[Previously on Animal Noises: Tuesday's Releases (2/9): Now Streaming]

Music Video Monday: Surfer Blood's "Swim"

Track: Swim

Artist: Surfer Blood

Album: Astro Coast

Year: 2010

The video for Surfer Blood's "Swim" springs upon viewers as unexpectedly as the track itself did last year. Adding an appropriately random collection of images to the haphazard and intense song, it is a narration of events which literally make no sense. Yet, given how caught off guard many were and have been by Surfer Blood's sound, perhaps it's appropriate, and almost expected for their video debut to act accordingly.

At the onset, lead singer John Paul Pitts is kidnapped from his bed and seemingly thrust into the day, without a clue (or pants). The subsequent events involve him attempting to find his bearings, watching his bandmates assault an old man and steal an ice cream cone from a little girl. This gives way to a chase scene that ultimately leads to Pitts thrusting himself into his own band's show, and taking the stage. Surely it won't make sense now, or ever, but I couldn't think of a better way to display the band's thrashing surf rock sound than the randomness that becomes this video.

[Previously on Animal Noises: Pre-Screening: Surfer Blood's Astro Coast]

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"]

Weekly Top 10: Lil' Wayne

If nothing else, this week's Top 10 will be topical. As 106 million people who watched the game in the United States might know, the New Orleans Saints won the Super Bowl this past Sunday. One of the city's most famous sons, Lil' Wayne, will be going to jail (soon?) for gun possession charges. So, with that wrap-around logic, we bring you this week's Top 10-- Lil' Wayne tracks. Enjoy below.

[Previously on Animal Noises: Weekly Top 10: Winter Songs]

#Blogocide2k10

Though not necessarily the type of thing we usually talk about here, I felt obliged to discuss the recent, and unfortunate events (un)affectionately becoming known as #Blogocide2k10.

As some probably already know after reading multiple other blogs and music websites, Google, Blogger's parent company has apparently shifted their policy in regard to DMCA takedown notices and infringing content. While we do not post illegal or infringing links on this blog, nor have we ever purposefully done so, this swift adjustment in Google's policy is baffling. Like many other lesser blogs, we don't receive a whole lot of press releases and advance copies of mp3s, so when we cover something, it usually links to another blog that did have privilege to such material. If we do get the material ourselves, it has been provided to us by the label themselves, or by publicity people for the artist. This is also the case for many other blogs like us, some of which were taken down in the past day or so, and unjustly so-- see this detailed description of I Rock Cleveland's gripe with Google.

The question now begs, what does this do to blog hype, and internet buzz bands? Yes, I'm sure that the next Vampire Weekend, or Neon Indian will be discovered via Pitchfork or Stereogum, but why can it only be in those locations? In today's music world, people find out about artists not just from larger, more established media outlets and blogs, but from the little guys too. However, if this policy continues going after blogs that post legal content, that online ecosystem could cease to exist. Hell, this blog will cease to exist as well.

As I mentioned, we're not in favor of sharing and posting illegal downloads. That's why we don't have any up here. And we also understand the motives behind Google's actions. But there has to be a separation between the takedown of illegal and legal content. If a blog is sharing legal links, then by no means should they be deleted. If they have illegal links, I guess a warning about the change in policy would have been a better way to approach these individuals. Continued violations should certainly result in more serious punishment, but only if the blogs were knowingly and repeatedly posting up illegal content. Let's just hope this whole situation doesn't get any more out of hand than it already is.

Other places you may want to read about this:

Hipster Runoff

The Daily Swarm

We All Want Someone To Shout For

The Music Slut

LA Weekly

John's Track of the Week: AFCGT's "Black Mark"

Song: Black Mark

Artist: AFCGT

Album: AFCGT

Rating: 7.0

The opening few seconds of AFCGT's self-titled album may reveal most of what you need to know about the overall effort. Chaotic and frenzied, "Black Mark" functions as the introduction to a seven-song collection full of electrifying doom. Its hectic riffs, matched with earth-shattering, spiraling effects in the forefront, do very little but create noise, albeit some of the most intense sounds of the year thus far.

Entertainingly released on Sub Pop, AFCGT plays off of assumptions and misconceptions on the part of the listener, first and foremost. The label doesn't match the sound. And, to be honest, neither does the band's name or album cover. Perhaps the typically indie moniker, and shiny disco-ball dupe unsuspecting listeners from the get-go. Or maybe nothing can fully prepare you for the dirgy, destructive force that lies beneath the cut. Whatever the case may be, AFCGT has constructed a desolate and explosive world in a limited amount of space. Though it may not be glamorous, or even discernible at times, it puts its post-apocalyptic wasteland of a presentation into some sort of perspective-- which should be good enough.

Tuesday's Releases (2/9): Now Streaming

As per usual, Animal Noises will make an attempt to liven up your Tuesday by letting you know what releases should be on your radar, and where you can preview them before purchase. This week brings a fairly substantial crop of new albums, so we'll get right to it. Check all of the selections out below, courtesy of Spinner. As always, credit for the original idea goes out to LargeHeartedBoy.

• Odd Blood -- Yeasayer
• Gorilla Manor -- Local Natives (February 16 release)
• One Life Stand -- Hot Chip
• Black Noise -- Pantha du Prince
• Return of the Wu & Friends -- Wu-Tang Clan
• Heligoland -- Massive Attack
• Dear God, I Hate Myself -- Xiu Xiu (February 23 release)
• Talking To You, Talking To Me -- The Watson Twins

[Previously on Animal Noises: Tuesday's Releases (2/2): Now Streaming]

Music Video Monday: Spoon's "Written In Reverse"

Track: Written In Reverse

Artist: Spoon

Album: Transference

Year: 2010

The grainy, black and white presentation of Spoon's "Written In Reverse" may seem like nothing special at first glance. In fact, even after watching it all the way through, most viewers will probably have little to say about it other than the fact that it was fun watching the band in studio. However, I feel the video is much more than that. It seems to be a statement to the band's different approach, both on this track, and the album as a whole.

While Spoon's latest album Transference appeared simple on the outside, it ended up being a fairly experimental and complicated endeavor once you spent some time with it. "Written In Reverse," the first single, seemed to be the epitome of this vibe, as the disjointed, rough piano number banged away at the keys amidst off-kilter guitar riffs. Less pop-oriented, and more bare-bones than projects past, the music could be heard in black and white. Literally, this translates to the video below, in a presentation that matches perfectly with the song it looks to represent. Check it out.

[Previously on Animal Noises: Tuesday's Releases (1/19): Now Streaming]

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"]

Matt's Track of the Week: "Four Score and Seven"

Song: Four Score and Seven

Artist: Titus Andronicus

Album: The Monitor

Rating: 8.0

Although Titus Andronicus received mostly positive reviews for their 2008 debut, The Airing of Grievances, for the most part, they still remain fairly unknown. Whether or not this will continue after their upcoming release The Monitor (named after the U.S. Navy's first ironclad ship, used during the Civil War) remains to be seen, however, they show great promise, and with their energy, it isn't hard to imagine them converting any listener who gives them a chance.

"Four Score and Seven" plays on the previously noted Civil War theme, as does most of the album, judging by the track names. A dynamic tune, the song starts off sounding like a tired folk number, then slowly soars into a rumbling march of grandiose instrumentation. It feels extremely modern, but still holds a strange old-world charm. Unfortunately, a studio version of the track isn't available to stream, but after the first few seconds, this live recording is fairly high quality, and should give you a taste for what Titus is all about. Check it out below.