Wednesday, April 23, 2008

Mysterious Mysteries - s/t

Mysterious Mysteries self titled EP is perhaps the most cohesively written pieces of music I have ever had the pleasure of hearing. Even though lyrics are scarce, and there are no repeated musical or lyrical themes, there seems to be a strong plot that strings each song together without them morphing into one composition. This EP plays like a novel that while short, is extremely interesting from start to finish.

Opening track “Chapter One” serves as an introduction to the scenery where the story will take place. Reverberated guitars drone ominously as an eerie bird-call echoes on the air. This seems to cleanse the musical palette, as a lilting finger-picked bassline fades in until it reaches full volume, and second track “Chapter Two” begins. The drums and bass lock tight together and lay the foundation for vocalist Jade Soto’s soft, throaty croon. Soto possesses a smoky tone that seems to channel jazz singers of old. Both the vocal melodies and those carried by the guitar are simple, yet memorable. Towards the end of the track, the band gains momentum, and conflict builds into a monstrous wall of dissonance until the clash is gloriously resolved, and the track rides out on a major chord and all-around good vibes. As the plot thickens, “Chapter Two” showcases a conflict which is ultimately resolved as the parties go their separate ways and to quote Soto “say their goodbye.” Of special note is the amazing slide guitar that closes out the track.

Track three paints an image of a sunny, spacious scene with a bright guitar cadence and smooth vocals. A new character is introduced when bassist Brandon Musa lends his voice to provide a new dimension to both the sound and the plot. It is now clear that “Chapter Three” outlines a passionate love story. The anecdote is told with clever metaphors comparing the choosing of a lover to picking fruit from a tree. But be careful! There is no way to tell if you’re fruit is fermented until you take a bite!

As track three fades to a close, we are met with the interlude of “Chapter Four.” Simple ukulele and bells serve as accompaniment as Soto sings of a longing for the past. “Chapter Five” opens with a western-styled guitar lick, painting a picture of a lonely desert road. As the track wears on however, the plot evolves to include a triumphant and climactic march.

I won’t spoil the final two tracks, or “Chapters” as the band calls them, but you would be doing yourself a favor to check out Mysterious Mysteries. With a sound that draws from the theatrical leanings of Mogwai, the shimmering buildups of Explosions in the Sky, a little bit of the experimental side of Deerhoof, and an emotional intensity all their own, there are nuances to their sound that will please even the pickiest of critics.

This is as much of a story as it is a piece of music, and considering this is the band’s first release, there is no reason to believe that their next record will be anything short of breathtaking. Does the story end in triumphant fanfare, or in a fateful dirge? In either case, the suspense created while listening for an answer keeps the ears attentive until the very last note.

Noyes - s/t

Noyes is the brainchild of guitarist Victor Villarreal, former axe-man of a number of legendary Chicago indie bands like Cap’n Jazz, Ghosts and Vodka, and OWLS. Villarreal has pioneered his own unique approach to guitar. His finger-picked riffs are beautifully melodic, and at times almost hypnotizing. This album is a joy to listen to. The guitar work is complex in execution, but when layered and repeated, as Villarreal does on this disc, it can’t be described any other way than just plain pleasant. Hints of OWLS can be heard throughout, but Noyes presents a more subtle and cerebral approach than the past works of Villarreal. Bands like Algernon Cadwallader, Them Roaringtwenties, and others clearly owe a lot to the work of Victor Villarreal. It is interesting to point out that while these newer bands owe a great debt to him, the mimicry of his style has morphed from complex finger-picking into frenetic finger-tapping. Noyes offers up a laid back indie rock album filled with charm and emotion. If anything, Noyes has more in common with the lyrical guitar work and eloquence of American Football than it does with the spazzy Cap’n Jazz. There’s some sparse vocals, some keyboards, and even a breakbeat or two, but the centerpiece remains the enthralling musicianship of Victor Villarreal. And rightfully so!

Hearts of Black Science - The Ghost You Left Behind

When people think about the musical output of Sweden, two things usually come to mind: death metal, and ABBA.You can clearly imagine my surprise, when I learned that Hearts of Black Science were from Sweden. The band plays a well executed style of electronic indie-pop. A heavy current of downtempo electronica can be heard throughout The Ghost You Left Behind, and a lot of the glitchy drum patterns sound similar to Telefon Tel Aviv. The only two acoustic instruments utilized are guitar and voice, but they are integrated with the electronic elements of the band’s sound flawlessly. Some of the instrumental sections of the album sound like Scottish instrumental band God is an Astronaut jamming out with electronic legends Boards of Canada. The vocals act as an extra instrument, and add to the overall spooky vibe of most of the bands songs. One track which stands out is “Driverlights” which uses a distorted guitar riff as its centerpiece. The song has tons of energy, despite the relatively slow tempo, since the atmospherics and live guitars meld together in a smoldering, slow-burn .The Ghost You Left Behind is good enough to overshadow some of the horrible death metal and glam-pop that has come out of Sweden over the years, and that is a truly good thing.