Pre-Screening: Beirut

Album: March Of The Zapotec/Holland

Artist: Beirut

Label: Ba Da Bing Records

Due Out: February 17th

Zach Condon made quite a stir last April, when he posted an apology letter on Beirut's homepage, canceling all the dates of the band's upcoming European summer tour, putting the band on indefinite hiatus, and promising only that the band would eventually, "be back in some form." Like many Beirut fans, I feared the worst. Luckily, not too long after, in an interview with the alternative Seattle newspaper, The Stranger, my fears were put to rest, when Condon confirmed that he had begun working on a new record, which he had tentative plans to release in the upcoming year.

That record is the double EP, March Of The Zapotec/Holland. A unique pairing of a set of songs inspired by Condon's recent trip to Oaxaca, Mexico, and a set of electronic songs which he credits to Realpeople, his pre-Beirut, bedroom recording project. On the surface, it would seem that these two sounds might clash, but in fact, they balance each other out surprisingly well. What really sets this release apart most from what we are used to from Beirut, is that the Balkan and French, European sounds that dominated the last two records have been traded for a brassy, funeral band aesthetic. The influences from the past records are still audible in the music, but it is decidedly more somber, and with the help of a 19-piece Mexican backing band, its instrumentation is very true to the region that inspired it.

The opening track of March Of The Zapotec, "El Zocalo", starts things off with what sounds like a lively marching band, gearing up for a big parade, circa 1945, setting the stage for the tracks to follow. This goes right into "La Llorona", a tuba and trumpet driven waltz, with few lyrics, but extremely dynamic instrumentation. A theme that continues into the next track, "My Wife", which is entirely instrumental, and then to "The Akara", one of the standouts of the first half. With mournful brass and a lockstep combination of metallic percussion and the strumming of a traditional, Mexican stringed instrument, it is one of the more fast-paced tracks as well. This song flows seamlessly into the brief, "On a Bayonet", and then onto "The Shrew", which Zach Condon has called one of his favorite pieces in multiple interviews. It's another waltz, like much of Zapotec, but one that develops slowly, reaching a speeding climax of tumbling trumpets and bass drum, and then easing back into its origins, closing the first part of the double EP.

Holland begins with "My Night with the Prostitute from Marseille", a song which many of you may have heard already if you happened to read about Natalie Portman's Big Change: Songs for FINCA compilation on the interweb last year. It's a bouncy, dance track, with deep bass and synths that evoke images of an evening near the shore in France, illuminated by only the moon and stars. The next song, "My Wife, Lost in the Wild", has a similar feel, but is much slower, and makes use of layered and differently pitched vocals, to the point where they are like another instrument, rather than the focal point. This is, quite possibly, my favorite track on the entire double EP. Following that, is "Venice", another tune that was on a separate compilation (the Believer 2007 Music Issue) before this record. It's reminiscent of early Beirut songs like "Fountains and Tramways", from the Pompeii EP, with its simplicity and lyrical repetition. The next song, "The Concubine", gives us something refreshing, that seems like it could even have fit in on one of the two previous full-lengths. It opens with accordion and bells, and has a steady beat that powers it along, as Condon croons. The final track, "No Dice", is completely instrumental, and is a fitting, energetic ending to a record that varies greatly throughout, with a melody reminiscent of "Sunday Smile", off of The Flying Club Cup.

Overall, I liked this release, in terms of being a solid EP. It also offered a unique vessel for Zach Condon to release some material of his that otherwise may not have seen the light of day. Zapotec expanded the band's sound in a way that I had not expected, but I was definitely pleased with. The main complaint I have, and I think other people may share, is it isn't as big and grandiose as their previous releases. If anything, the lack of brand new material just leaves Beirut's fans hungry for more in the near future on the band's next full-length.

Rating: 7.0/10

Best Track: "My Wife, Lost In The Wild"

New Ra Ra Riot Video, "Can You Tell"

Happened upon this and figured it couldn't hurt to give some love to fellow members of the Syracuse University community.  "Can You Tell," Ra Ra Riot's latest video is a good time- it's actually done in an early-00s theme (I feel), which is nice for a trip down memory lane.  You know, when we were hearing songs like "Superman" from Three Doors Down or "Swing, Swing" from the All-American Rejects for the first time.  Actually, I'd rather not relive that.  Still, I would recommend checking out this video, and if you haven't heard The Rhumb Line, I'd suggest doing so immediately.  The Rhumb Line is out via Barsuk, and in stores everywhere you could possibly imagine.

Matt's Track of the Week: "Seventeen Years"

Song: Seventeen Years

Artist: Ratatat

Album: Ratatat

Year: 2004

From the danceable beats and seamless blend of electric guitar and synths, to the jagged, heavy metal typeface used on the album's cover, there's something inherently cool about Ratatat's 2004 debut.  It's extremely modern, while still sounding like it could have been the soundtrack to a late 80s, early 90s video game.  It reminds me of a more laid back, but more rock-influenced Daft Punk.

One of the reasons I like "Seventeen Years", is because of the opening conversation excerpt, spoken by local Crown Heights, Brooklyn, rapper, Young Churf.  It's a calm and collected assertion of his own personal skills as an MC, with guitars building in the background, hinting at the burst of energy that is about to follow.  Something about it takes you off guard, but still seems extremely fitting, considering that the album uses such excerpts by Churf as a motif throughout.  It also shows a real hip hop sensibility, which the band has more recently showcased with remixes of songs by everyone from Jay-Z to Memphis Bleek.

Once the song takes off, you are bombarded by the intertwined guitar and synth elements which cut in and out of each other, along with the explosive percussion hits, constantly changing pace.  Not only does it have a great melody, but it immediately makes you want to get up and dance.  Check it out below.

New Live Tracks from Grizzly Bear

Grizzly Bear does a great job of giving their audiences sneak peaks of what they're up to, especially on TV and radio shows.  Apparently, the new record, which is yet to be named, is out in May, even though it's basically done, cover art and all.  According to the band, mixing's the only thing stopping us from hearing the album at this point.  I've liked what I've heard from their live stuff so far, and they've said that those songs have been tweaked and become fuller, so I guess that's a good sign.  Until May (or whenever someone gets a hold of this record which is sure to be one of the best of the year), these live tracks will have to suffice.  Enjoy, courtesy of Stereogum.

Grizzly Bear- "Two Weeks" (Live on David Letterman)

Grizzly Bear- "While You Wait for Others"  (Live at Morning Becomes Eclectic)

Grizzly Bear- "2 Hud" (Live in Boston, 08.14.08)

Grizzly Bear- "Fine For Now" (Live in Boston, 08.14.08)

John's Track of the Week: "With A Little Help From My Friends"

Song: With A Little Help From My Friends

Artist: Joe Cocker

Album: With A Little Help From My Friends

Year: 1969

Going back to older material, this week's Track of the Week is Joe Cocker's cover of The Beatles "With A Little Help From My Friends".  I'm rarely a fan of Beatles covers, but well, this one is an exception.  It's the complete reworking of the song- not just singing it like The Beatles did- that makes it endearing.  It goes from a shortish, fun song to a long and epic jam session, complete with gospel choir.  Plus, for those who may remember the hit show The Wonder Years (one of my all-time favorites), this is the theme song.  It's also the reason the show's not out on DVD yet (damn you, Michael Jackson).

Why is Joe Cocker so good at covers overall?  Like I said, it's the reworking- basic rewriting of it- that makes it standout, and makes people pay attention.  There are so many covers out there, yet very few good ones, and very few good cover artists.  With that in mind, Joe Cocker's one of only a handful who's quite good at his craft, and this song may be his best work.  Enjoy, while having flashbacks to images of Kevin Arnold and Winnie Cooper.

New Walkmen Video, "Four Provinces"

As anyone who's read this blog in the past couple of months knows, we love The Walkmen's most recent album, You & Me, which came out in the latter half of last year.  Below is a video from said album, for the song "Four Provinces".  It, like all of the tracks on the album, is fantastic, and the shots of the Himalayas, etc. also make for a nice touch here.  Enjoy.

Video via Pitchfork.TV

Bonnaroo's 2009 Lineup

Since I did a post about Coachella's lineup the other day, I thought it was only fair that I also took some time to mention the lineup for Bonnaroo as well.  Artists that I care about on the docket this year (in order of importance as deemed by Bonnaroo):

Bruce Springsteen and the E Street Band

Beastie Boys

Wilco

Snoop Dogg

Ben Harper and the Relentless7

TV on the Radio

Andrew Bird

MGMT

The Decemberists

Girl Talk

Bon Iver

of Montreal

Animal Collective

Grizzly Bear

Okkervil River

...and so many others that I just haven't listed.  Regrettably, I probably won't be in attendance at this festival either.

New Bishop Allen Tracks

Here at Animal Noises, we'll be reviewing the new Bishop Allen record, Grrr..., later in the month, but until that point, I'm sure these two tracks (courtesy of Stereogum) will suffice.  I've heard Grrr... already, and I have to say, I'm thoroughly impressed.  Though the band has kept their pop elements intact, they've also managed to get back to a more rock sound than their previous release.  Less corn ball, more straightforward and serious rock music.  What else could you want from these guys?

Grrr... is out March 10th, on Dead Oceans.  Check back here later on this month for a full write-up of it.

Bishop Allen- "Dimmer"

Bishop Allen- "The Ancient Commonsense of Things"

Coachella's 2009 Line-Up

I usually don't talk about shows on here (especially ones that I regrettably won't be able to attend), but I felt that this year's Coachella line-up is too good to ignore.  Among this year's participants (listing those important to me):

Friday- Paul McCartney, Conor Oberst, Beirut, The Black Keys, Girl Talk, M. Ward

Saturday- The Killers, TV on the Radio, MSTRKRFT, Calexico, Blitzen Trapper

Sunday- Yeah Yeah Yeahs, Lupe Fiasco, Public Enemy, Okkervil River, No Age, Sebastian Tellier

Pre-Screening: M. Ward

Album: Hold Time

Artist: M. Ward

Label: Merge

Due Out: February 17th

Bright must be the new black. In what has already been a very notable year for music, M. Ward's latest effort, Hold Time, is already standing tall, much due to its bright and personal nature. In past years, it has seemed that a more distant and subdued sound was what the best albums were made of, but so far in 2009, we've seen a clear departure from this tendency. What has caused it? Perhaps the current economic times are making artists try to focus on the more pleasant and simple aspect of life. Maybe it's reflective of renewed optimism. One can't know for sure, but it is indeed, welcome.

Hold Time starts with the aptly named "For Beginners," a great mood setting piece about the search for, and discovery of, religion. Ward's classic and smoky vocal style is the proper vehicle for the visualization, as it easily conveys a personal and meaningful journey. Then, just in case you had forgotten the incredibly successful She & Him, Zooey Deschanel reunites with Ward on the second track, "Never Had Nobody Like You"- a pleasant song which would have easily fit on 2007's Volume One, but still does quite well here. The themes of the ease and simplicity of one's love for another, presented in somewhat 1960s packaging made possible by Deschanel's presence, seem to roll off the tongue- a smooth and natural track which will be sure to make year-end lists everywhere. The first half of the record does a fantastic job of maintaining an aesthetic, with one seemingly drifting from song to song, all keep themselves under three and a half minutes. While Hold Time is nearly 45 minutes long, I can't help but feel as if it breezes by, even with more relaxed songs, such as the largely instrumental "Hold Time" (see video posted her from earlier this month) and Buddy Holly cover "Rave On".

The second half of Hold Time presents a more subdued tempo, while still keeping up with the positive and engaging nature of the earlier part. Most of these tracks take the shape of apparent second-guessing and realizations. It's here that we are treated to much of the existentialism and inner thought one is generally accustomed to when listening to Ward. Songs such as "Fisher of Men," "Blake's View" and "Shangri-La" draw your attention with honesty and a vibe that gets you to imagine walking in a circle of thought. Ward is aided by an appropriately-chosen cast including the aforementioned Deschanel, Jason Lytle (Grandaddy), Lucinda Williams, and Tom Hagerman (DeVotchka) in putting together a dynamic and intelligent piece of art, more endearing with each listen. As firmly as your hand is grabbed to start the record, it is just as softly released at the end. The songs gracefully escort you out, and walk you to the door of whatever mindset you were in before listening in a way seen only so often in today's music world.

As Andrew Bird's Noble Beast was, and Animal Collective's Merriweather Post Pavillion could very well end up being, Hold Time is M. Ward's best work to date. And it was obvious on my first listen. The record hands you a mood to be in and a mindset to exist within. Over the past 12 months, Ward has shown us, through the execution of two great records for two different projects, that he is evolving as an artist for the better. If the first two months of releases are any indication of what we're in for from a music standpoint this year, I'm pleased and excited for what's on the horizon. For those looking for a comparison to M. Ward, check out Andrew Bird, Iron & Wine and Conor Oberst's solo work.

Rating: 8.5/10

Best Track: "To Save Me"