In No Particular Order – August 12, 2016
Hopefully the two and a half months in-between features hasn’t caused any readers some financial, emotional, or musical distress.
But then again, if you were betting money, had some form of emotional attachment to the weekly INPO being published, or decided to go not listen to any music until now, then maybe my tardiness is not the problem… (and hey, at least I’m not pulling a Frank Ocean).
Although I was half hoping someone would notice there had been a lack of well-written, weekly summaries selecting some of the best new releases in music, and thus choosing to send me a lengthly e-mail explaining why this was the highlight of their week, however, my expectations were apparently too high. Nevertheless, the excitement of summer is winding down, and the seemingly never-ending music festival season is coming to a close, allowing this guy (*points two thumbs towards his chest*) to find some time to sit down and properly listen to some sweet, sweet new albums. We can only hope my dedication and commitment to writing In No Particular Order stays consistent. Hopefully the next time you bet on its return, forge an unorthodox bond with a written series, or show your support of new music in a most ironic fashion, then you can at least walk away content and with a better music library.
Check out this week’s top picks, and click here for a full list of new releases from the past week. For more excitement in your life, follow me on Twitter and Instagram (and to let me know you’re actually reading this).
Atmosphere – Fishing Blues
With 18 tracks, and over an hour of articulate, organic hip-hop, Minneapolis duo Atmosphere are back with their seventh studio album Fishing Blues. If you’re already familiar with the pair of MC Slug and DJ Ant, then you should already know what to expect: old-school, dense hip-hop beats matched with Slug’s passion-fuelled, hard-hitting delivery. Over the years, Atmosphere have been extremely consistent with their sound, yet have still found the space to do something to re-work their style. Their 2014 album Southsiders found the duo in a more laid-back, slow-spinning vibe, especially compared to their earlier albums like Seven’s Travels or To All My Friends. Although they don’t return to the aggressive delivery of their beginnings, Atmosphere still find themselves touching on hard-hitting topics, and doing so with an inextinguishable passion.
Putting the “blues” in Fishing Blues, the new album definitely has a dark tinge; existential crises, coming to terms with being a washed up star, and trying to not look back to past relationships put a slight damper on the overall track list. “No Biggie”, lead single “Ringo”, and especially “Everything” (a song that would make Nietzsche proud for its existential themes) are some of the darker songs on the album, but it’s what makes Fishing Blues so appealing; it’s pensive and personal, while still being a captivating, ear-pleasing record (see: closing track “A Long Hello”).
With such a long track list, Fishing Blues does take a bit of time to take it all in, but it provides room for a few guest features from Aesop Rock, The Grouch, DOOM and Kool Keith, giving the record an extra dose of character scattered throughout.
You can listen to the full album on YouTube, and head to their website to order a copy. Also, check out their fishing adventures with their short series aptly named “Fishing Blues”.
Must-haves: “Ringo” // “No Biggie” // “Everything”
Young the Giant – Home of the Strange
Orange County indie alternative rock group Young the Giant made some heavy waves with their 2010 self-titled debut. Radio listeners and fans around the world soaked up hits like “Cough Syrup”, “Apartment”, or most notably “My Body”. Then came the 2013 follow up Mind Over Matter; an equally impressive and punchy alternative rock album that not only highlighted the band’s expansive sound, but proved once again lead singer Sameer Gadhia has one of the most mesmerizing voices in alternative rock, matching the likes of Coldplay’s Chris Martin or the distinct voice of Adam Levine from Maroon 5.
Now that the California quintet are comfortably planted in the alternative music scene, their third album Home of the Strange has Young the Giant changing direction (oh so slightly), without losing their grip and power. Incorporating more prominent synthesizers, and holding off from crunchy explosions, instead opting for smoother rhythms and lush melodies.
Opening track “Amerika” serves as a fine example of their shift into synthetic waters, with dots and dashes of electronic sounds and textures filling in the extra space, before gliding into lead single “Something To Believe In”. Anthemic alternative pop remains as the band’s tactic, but with a more polished and matured sound, as is the case with the lead single, and tracks like “Mr. Know-It-All”, “Jungle Youth”, and “Silvertongue”.
Young the Giant slow things down for a handful of tracks, and although the tempo decreases, and the power diminishes, the band’s energy remains the same; glossy, bass-swelling tune “Elsewhere” gives Gadhia room to let his vocal presence take centerstage, along with the Coldplay ballad-esque tune “Titus Was Born”.
Home of the Strange is definitely a more well-rounded effort, with hints of their debut record returning, but with a more focused and matured performance. Colourful rhythms, playful electronic textures, and a heavier focus on melody and lyrics put the new album in line with their previous work. After such a fantastic start to their career, Young the Giant are not slowing down.
Check out the full album for free via Spotify, and head to their website to order your copy.
Must-haves: “Amerika” // “Something to Believe In” // “Mr. Know-It-All”
Thee Oh Sees – A Weird Exits
Hold onto your hats, ladies and gentlemen, John Dwyer and his brain melting garage-psych project Thee Oh Sees have returned once again with their eleventh album A Weird Exits (I keep wanting to say “exist”). Although the band has gone through numerous line up changes, Dwyer and his experimental garage rock approach remain at the centre of the project. And weird it is, as the 8-track record refuses to take any clear shape, but none the less is explosive and dynamic, launching itself to some undisclosed finish line in just under 40 minutes. It’s quick, electrifying, and downright wild.
Never straying too far from the sonically-charged psychedelic rock of the ’60s and ’70s, A Weird Exits exists off the bread and butter of energetic jam sessions, recording most of the album in as few takes as possible live off the floor. The result is a beautifully chaotic and exhilarating experience from start to finish.
A Weird Exits slams down into the pavement with the hard-hitting “Dead Man’s Gun”, and “Ticklish Warrior”, and it goes full tilt for almost the entire stretch of the record. High-flying guitars, hyper-stimulated percussion, mixed together with Dwyer’s pseudo-growls vocals on the occasional track creates a sensation like a kaleidoscopic fall through the eye of a tornado. Southern rock track “Plastic Plant” – a track that certainly highlights the dual-drummer lineup – and the gregarious “Gelatinous Cube” begin to shift gears towards the articulate, experimental jam rock style for the latter end of the album. “Unwrap the Fiend Pt. 2”, and the stunning, psychedelic tune “Crawl Out From the Fall Out”, which embraces the studio experimentation of the 1970s and hints of mid-career Beatles, suddenly refocuses Thee Oh Sees, almost acting as a grounding few minutes before closing off with the vintage-tinted single “The Axis”.
Just touching past the six minute mark, “The Axis” brings the idea of “weird” full circle, ending with a punchy, distorted guitar solo, overlapped by anthemic vocals in a melodic disarray. The quick cut from the final seconds of white noise creates a sudden awareness of the unsettling silence, as the rush from the past 40 minutes finally comes to a close.
Stream it in full via SPIN, and head to their website to order your copy of A Weird Exits.
Must-haves: “Dead Man’s Gun” // “Ticklish Warrior” // “Crawl Out From the Fall Out”
Savoir Adore – The Love That Remains
Brooklyn electro/synth-pop act Savoir Adore originally started off as a duo composed of Paul Hammer and Deidre Muro, releasing two albums In the Wooded Forest and Our Nature, until 2014 when Muro left the band. Since then, Hammer has been at the reins, collaborating with different guest vocalists, and eventually bringing a full band for live performances. For the new third album, The Love That Remains, Hammer continues to work under the moniker Savoir Adore, resurrecting their glossy, synthesizer-fuelled pop.
Sharing a similar, ethereal spark with the likes of M83 and MGMT, Savoir Adore focus more on the dance pop aspect of their sound in The Love That Remains. Lead singles “Giants”, and “Paradise Gold” were early examples of the new record’s goal of glowing, synth-pop, with the youthful gusto of Passion Pit and Walk the Moon playing as clear influences. Although not quite as booming and powerful as the lead singles, the rest of the album still finds a way to shine in their own right, with spacious synthesizers and textures swelling in the background, while Paul Hammer mixes in his colourful vocals, especially in the ethereal opening track “Lovers Wake”. Tracks like “Savages” and “Devotions” embrace colourful similarities to more recent M83, giving The Love That Remains a feel-good charm, built upon stacks of glittering melodies and lush vocal harmonies.
Listen to the full album for free through Spotify, and head to their website to get your copy of The Love That Remains.
Must-haves: “Giants” // “Paradise Gold” // “Devotions”
