Category: Atmospheric/Prog/Psych Rock


It’s math rock—calculated, halting, and orchestrated. It’s jazz-influenced rock—jamming out and vamping. It’s progressive rock—big guitar riffs, rhythmic intrusions, and electronic effects.

Mutemath’s Odd Soul defies easy categorization, but what it does do is convince you that rock music can reach new heights. Not content to stay where they have been, Odd Soul shows Mutemath reaching for new sounds, new effects, and new territories. “Blood Pressure” sounds like a riff variation on “Love Potion No. 9” taken for a groovy walk. Electric, heavy riffs sections are coupled with the bouncy stanzas. Elsewhere, I hear reminiscences of funk rock and Hip Hop, as on the speed-sing of “Tell Your Heart Heads Up.” The stadium can’t contain the big sound of “Prytania” and “Allies,” each having guitar riffs to raise a roof but also dance-like rhythms that pulsate and reverberate you right out the door.

While a bit cryptic, you get the feeling that you know exactly what Paul Meaney means when he sings, “I’m an odd soul.” The title track begins with gang vocal shouts akin to White Denim. Meaney swaggers as he sings like the bluesy rock of Jon Spencer. There’s the 70’s pulled through all of the intervening decades. Meanwhile, the longing catches up with your heart: “I’m an odd soul/just trying to find a place called home.” It’s a spiritual search in greasy blues rock, and it’s a beautiful thing.

Mutemath
Teleprompt
Warner Brothers Records

“It’s cathartic for him, so it’s cathartic for us.”

Keyboardist/percussionist Chris Freeman for Manchester Orchestra may not be the principle songwriter. And while the band contributes much and is given songwriting credits, the lyrics themselves come from vocalist/guitarist Andy Hull. Yet, in talking to Freeman, it is clear that while Hull’s lyrics may be very personal, the band feels those songs are just as much theirs. If it’s cathartic for Hull to sing his revealing lyrics about marriage and love and faith and doubt, then it’s cathartic for the band to play the music.

Freeman: “We’re all close, spend a lot of time together. A lot of the things he’s talking about, we were there for. We already know the feel of what happened.”

Clearly, as you listen to 2011’s Simple Math, the band knows the feel of these personal, confessional songs, because they play their brand of Guitar Rock as if their lives depended on it. Looking back now on the album as the year comes to a close, it’s a blend of Emo and atmospheric rock, meeting somewhere between Jimmy Eat World and My Morning Jacket. It drives ahead with emotional intensity and guitar riffs all over the place, but it also can come down to a fine point as if Hull is just a folk singer dressed up in an electric rock band. The album’s introduced by the mysterious, chanting “Deer,” a track that might throw you off because of its Bon Iver-like brood. Then “Mighty” drops three big chords, Guitar Rock rises up, conjuring up Hard Rock and Classic Rock, and we’re off to a cathartic ride.

I think of those three chords that open “Mighty” as a point that typifies the energy of Simple Math. Freeman mentions that “Virgin” is the real turning point, the place where the band may be headed in the future. Jonathan Corley’s bass lays the haunting groundwork. A children’s choir chants out the chorus like a Pink Floyd effect. Hull’s pain is palpable in his vocal. Robert McDowell’s guitar work brings the rage and machine. If this is where Manchester Orchestra is headed, it’s in that My Morning Jacket, Black Mountain, Pink Floyd vein—atmospheric rock that punches along right near the border of Progressive Rock’s orchestrations and storytelling through songs with multiple movements within them.

Back to the cathartic, Freeman talks about the band supporting one another in their Christian faith. In fact, to me, his comment about the songs being cathartic for the band because it’s cathartic for Hull reminds me of the concept of the “body of Christ.” The Bible talks about that people of God are brought together as one body—individuals pulled together with individual gifts and abilities but working together for the mission of God. Jesus is the Head of the body and leads and guides this body. If one part of the body suffers, all of the body suffers. In the case of Manchester Orchestra, if one part of the body has a catharsis through a song, the whole body has a catharsis. If Hull is shouting out his pain and confusion and struggles through the lyric, the whole band shouts out pain and confusion and struggles through their instruments. What a beautiful picture of what the Church could be.

Manchester Orchestra
Favorite Gentlemen
Columbia Records

A meld of House of Love and Wire, Burning Codes (Paul Archer along with brother, Iain) delve into delivering brooding, atmospheric rock spaces inside rhythmic temples. Rivers of Hope opens up with “We Are Like Gold,” a tribal-like chant, a blue sky warmth hitting you on these autumnal days. “Last Time” speak-sings with its Wire charm and hesitancy coupled with a shake-off-the-shackles chorus. Booming drums announce the arrival of the title track, the flowing waters rising with what could be danger or could be whispered hope. The electric charge of “Switch” courses through the strongest track here, an urgent chorus ripe for pairing with flashing visuals of the city at night. Hushed, close harmonies, and acoustic guitar bring in the group around a campfire for “Our One Desire.” Charge up again for “Only Gone,” a track that reaches for heights in its guarded intensity.

Burning Codes
Indiecater

It’s synth shoegaze. It’s electronic music for people who like the shape a guitar can bring to song. Guitaro’s J.J.’s Crystal Palace comes from a space in between dreams and dance floors. It’s music for gazing at your shoes even as you start to see them tapping, moving, and dancing to the beats.

“Hill Mountain” opens things up with a foreboding guitar line over drum machine where chiming keys enter to flash the lights of the club. The keys on “Chateau 100″ bounce and pop a bit like Men Without Hats, but the vocal is all dream sequence. “Blastok” is blissed out, made for staring at the ceiling when you’re overwhelmed by music, life, or sleep. Acoustic guitar strums in under the electronic piano on “2085,” a combination of the Church and Royksopp.

Brooding vocals on tracks like “Come Get Sums” recall Wire’s way of going introspective even over propulsive beats. There’s a beautiful acoustic guitar line on “Make You” which chimes in like a subdued Turin Brakes song. Then on “Modulo” we’re back to the dancefloor, an incessant keyboard line ripe for spinning lights reaching into the dark corners. The album then closes with the Pink Floyd-like “Plastic Bags” which floats around like a grocery bag until the wind picks up.

Guitaro
Help Computer Records

Article first published as Music Review: Guitaro – JJ’s Crystal Palace on Blogcritics.

The Music Spectrum Notebook Series digs into my handwritten notes and reviews on older releases still getting my attention as 2010 comes to a close.

It’s good 80’s pop rock. It’s Sufjan-like horns. It’s trippy acoustics. It’s a little bit electro-fied. There’s some harmonies like the Primitives. There’s some acoustic rock played out with a little funky keyboard through in. Setting Sun is Gary Levitt and friends coming together to produce 2010’s Fantasurreal—an apt title for this work of art that grabs at psychedelic stretches even as the pop gems flow. Go down the sunny train track of “Into the Wire,” and then hang around for the beat of “I Love Mellotrons”—which warbles to fine satisfaction and includes some great Camper van Beethoven-like fiddle work.

Setting Sun
Young Love Records

One of my favorite Christmas albums is unavailable now (except for a couple of copies through Amazon). Decorations was a compilation released back in 1993 as a gift to shoppers at a mall—Southdale Center in Edina, Minnesota. A tremendous collection of both the sacred and the trivial, it included many artists with Minnesota ties like Greg Brown, Moore by Four, and Chan Poling. Plus, “Snow Day,” a story by Kevin Kling caps it all off making you hope that the sky will open up and leave you with a snow day in front of the fire, so you can put the CD player on repeat.

Now in 2010, Target Stores had the opportunity to offer something similar to shoppers with their free gift of music through The Christmas Gig compilation and ad campaign. And while I really appreciate how Target supported many indie artists with this compilation/campaign, and while I enjoy many of the songs, still I was disappointed that the compilation focused so much on shopping—rather than the true spirit of giving and of Christ.

Those were the things that made Southdale’s Decorations a great CD. It combined elements of frivolity of the season with the spirit of giving and renewal in songs like Paul Metsa’s “Christmas at Molly’s” and Greg Brown’s “Wash My Eyes.”

Nevertheless, kudos to Target for including artists on The Christmas Gig that may not otherwise be getting such airplay. The Crystal Antlers’ “10,000 Watts” is an awesome post-punk tribute to electric light celebrations. It’s probably also my most favorite commercial of the campaign, matching the song with flashes of huge light displays.

Guster offers the charming, 60’s folk pop strums of “Tiny Christmas Tree.” That 60’s folk vibe continues on Jenny O.’s “Get Down for the Holidays,” a melancholic look at the joy which may (or may not) lift us up at the holidays. Coconut Records’ “It’s Christmas” rings out with that same 60’s air—swaying, slowly marching its way into your heart.

Darker My Love retains some of their dark, psychedelic charm while lightening up for “Snow is Falling.” (Click for a full Darker My Love review). Best Coast and Wavves team up for “Got Something for You,” which like Bishop Allen’s “You’ll Never Find My Christmas,” is another song about being really good at hiding presents. Or is it?

I don’t like the commercial which makes it look like the holidays are all about doing everything at once to make them perfect, but the song by Little Jackie, “Mrs. Claus Ain’t Got Nothin’ on Me,” is infectious. Then there’s “Electronic Santa” by Blazer Force which brings it all down to the dance floor.

The Christmas Gig Free Download

Phosphene Dream opens with a warped vamp akin to Black Mountain, but this is Black Angels and their song, “Bad Vibrations.” Psychedelic blackness abounds on the album coupled with obtuse lyrics and the occasional bridge that rhythmically breaks the song into pieces. The Black Angels seem to shine most brightly when they channel 60’s blues rock a la the Kinks and send it through their own dark style (“Haunting at 1300 McKinley,” “Telephone”). The road song, “Entrance Song,” pulls and pushes the listener down a blurred out series of highways and byways of oblivion.

The Black Angels

Describing themselves as a “instrumental cinematic rock band from Blackpool, UK” sums up well what you will find when hearing Goonies Never Say Die’s No Words to Voice Our Hopes and Fears. Their Myspace description uses the words “shoegaze” and “visual” which are apt as well. Big rock riffs trade off with piano on “Nothing Remains Forever But The Future Still Holds Hope,” a good snapshot of what happens here as orchestrated sections of songs verging on prog rock become entwined with elements of straight-ahead rock ‘n’ roll.

It’s music for headphone listening when your life needs a soundtrack. In fact, it reminds me of my one experience in Blackpool while there on a high school band trip. Our hosts took us to the amusement park for the afternoon where we braved a chilly, gray day along the sea to ride the rides and watch as our host teen spent most of the time making out with her much older boyfriend. That day I remember wanting so much to be back at her house, back to where my Walkman was waiting with music to be a soundtrack to an awkward day of exploring England but feeling like a second fiddle. Strangely, Goonies Never Say Die have created a song for that memory as “This Low Point Can Only Be Followed By A High” brings out that tension both musically and in the title itself.

Goonies Never Say Die
Deep Elm Records

Black Mountain’s brand of dark psychedelic atmospherics appeals to me on a spiritual level. While their forays into the other worldly charms of psychedelic rock may not lead to the same spiritual conclusions I would draw, still I can’t but help to find their psalms to be beneficial as I look back on their 2010 release, Wilderness Heart. I especially find that appeal in the country blues psychedelia of “Buried by the Blues,” revolving around the opening line (“Absolved forever/Into the darkest shades”) which is coupled with the resurrection-like chorus (“Against the night/You will rise and set your body free/Frontier of light/You deserve to let your body sleep/Away from the static and noise”). Buried by the blues of this world, we are absolved by the work of Christ on the cross and will be brought to a new world away from the noise of sin, death, and the devil.

Beyond that track, “The Way to Gone” rocks and grooves into the night. “The Hair Song” seems to be culled from Led Zeppelin outtakes. “Old Fangs” hangs on a classic muscle blues riff. That muscle speeds up for the blistering “Let Spirits Ride.” Altogether, Wilderness Heart is another strong set from Black Mountain, closing with the Led-like ballad “Sadie,” a bluesy slide across the horizon of a dark, dark field.

Black Mountain
Jagjaguwar

Darker My Love conjures up the spirits of pscyhedelia-fringed Beatles pop rock while always keeping a little dose of Country Rock on hand. Appropriately enough, the album, Alive As You Are, was recorded at the famed Hyde Street Studios in San Francisco. There’s a J.J. Cale sound to train track mosey pace of “Backseat.” The Byrds’ chiming guitar shows up for “Spitting Image.” A darker, bluesy side emerges for “18th Street Shuffle.” “New America” floats on a carnival wind blowing across a summer prairie. Imagine the Monkees doing something much more psychedelic for the jam of “Maple Day Getaway.” While the album comes from Dangerbird Records, it echoes much of what you might expect from those artists on Rainbow Quartz—psychedelic folk with echoes of the 60’s/70’s—while perhaps tapping more into that Country-influence.

Darker My Love
Dangerbird Records

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