popwreckoning

The CAVES' five songs EP

The Caves’ music can make a person feel light-hearted.

Giddy, really.

Andrew Ashby (guitar, voice), David Gaumé (bass), Elizabeth Bohannon (keys, percussion, voice), and Jake Cardwell‘s (drums, percussion) talents effortlessly blend together on the band’s refreshing Five Songs with the Caves EP, Volume 1. Five Songs is a bit haunting, completely mind clearing and undoubtedly calming.

The heartbreaking and beautiful “Low Slung” eases listeners’ ears into the crisp sound of the EP while the indie rock inspired, “The Latest Song,” is short and cute and speeds up the EP’s pace slightly.

The cool, melancholy “Bad Astronomy” sweetly slinks along. Each note is sung delicately. Bohannon’s voice gently sits atop each chorus lyric like icing.

“Consuela” contains a gentle romping beat, echoing chorus, and a deliberate, but slightly delayed lyric delivery, while the gentle pop melody and driving chorus in “The Ballad of Jiminy Cricket” brings the EP to a powerful close.

Hear The Caves play at the Replay in Lawrence, Kan., on August 7, at 10 p.m.

Track Listing:
Low Slung
The Latest Song
Bad Astronomy
Consuela
The Ballad of Jiminy Cricket

The Caves‘ MySpace and Facebook.

The Belles‘ Time Flies When You’re Losing Your Mind is played a lot (a lot, a lot) on my iPod these days. This fact surprises me. I normally grow tired of an album after a few weeks.

I like, and continue to like, every little song Christopher Tolle (vocals, guitars, bass, keyboards, percussion), and Jacob Cardwell (drum kit, percussion) wrote for Time Flies. Tolle and Cardwell have a knack for writing beautiful lyrics, and composing rich songs with full bodied melodies. The album’s 14 songs flow effortlessly together.

The Belles’ music is a tinge folksy, a smidgen psychedelic Americana and a heap of solid indie rock.

Many of Time Flies songs have an early 90s British rock sound and feel. Think early Oasis. The album is filled with echoing guitars and grainy male vocals. Strings and breezy electronic keys make Time Flies a light rock, sleepy summer treat.

~

Time Flies When You’re Losing Your Mind was released on June 8.

To celebrate the release of Time Flies, The Belles will perform at the Love Garden in Lawrence, Kan. this Friday, June 18, at 7:30 p.m. Entry is free.

Track Listing:

Time Flies When You’re Losing Your Mind
Existence is Fragile
The Late Hours
Standing Demons
The Burning Questions
Ghost in the Hallway
Keep Me Away
Monarch
Misery Loves Industry
Disarmed
New Years Resolution
Scars
Someone Missed the Party
Clouds Over Stansted

Tuesday night shows are rough for bands traveling through Lawrence, Kan. Show times are flexible, local bands tend to get top billing, and very few folks attend. It’s a shame more people didn’t come to the Jackpot on May 5, though, because Stardeath and White Dwarfs put on a stellar show.

Dennis Coyne

I’m a new fan of the Dwarfs, so I was unable to record the names of the songs played Tuesday evening. I first heard the Dwarfs’ while researching the bands who were touring with the Flaming Lips (Dennis Coyne is Wayne Coyne‘s, of the Flaming Lips, nephew). I instantly fell in love with the band’s experimental music and exceptional psychedelic rock sound. While the listener can hear that the Dwarfs’ music is  influenced by 60s/70s bands, such as the Doors and the Blue Oyster Cult (there’s even a bit of Phil Collins thrown in for good measure), the Dwarfs’ sound is all original.

The Oklahoma natives came on stage around 10:45 p.m., somewhat hidden by a cloud of smoke. Cheesy, perhaps, but the fine dust created a mysterious atmosphere, which allowed the band’s elaborate light set-up to cascade across the wafting particles.

Dennis Coyne’s (vocals, guitar, keys) faded silhouette appeared vaguely through the smoke as the rest of the Dwarfs (Casey Joseph, Matt Duckworth and James Young) began playing the show’s opening tune. Coyne, appearing pleased with the crowd’s reaction, slightly swayed to the song, and moved his bare feet to the beat.

The Dwarfs’ song styles ranged from gritted-out garage rock tunes to funk-fused jams; quiet ballads to blow-your-brain-out-of-your-skull psych-rock. Keyboard solos were played on a bedraggled board. The band’s electronic melodies spun their soothing, soul inspired songs into frizzed, disco-dance trips.

The band finished with a crazed rock jam, and used full light effects and slow, pounding guitar riffs, which sent the small crowd into a frenzy.

Cloud Dog: I’ve renamed show openers, Cloud Dog, “the band of a thousand drums.” Lovingly, of course. Most of the fellas in the band played shirtless, lost boys style (Peter Pan, not the vampires). One drummer opted to keep his plaid shirt on, though. Shirted or not, the guys definitely had an interesting sound. Minimalist male vocals/yelling/calling, atop drums, and electronic loops. A kind of tribal Talking Heads.

The Dwarfs’ album, The Birth, will be out June 2nd. It’ll be a good one.

High Violet sounds like the silver lining on a cloudy day. Well, if a silver lining made a sound, that is.

Violet is filled with melancholy, moody and agitated songs. Although the album’s overall feel is dark, its songs’ light melodies are peppered with sounds of absolution and pleasant agitation.

Fuzzed electronics, solid drum beats, crisp guitar riffs and tired vocals bring Violet‘s songs together, and tell of a somewhat distracted and dreary, but determined so-and-so.

“Afraid of Everyone” serves a full dose of rainy-rock. The song drones on, while Berninger’s voice chants hauntingly, “I’m afraid of everyone.” “Afraid” sounds of complete isolation, so, keep the razors locked away during the track’s duration.

Fret not, though- the entire album isn’t filled with mope inducing ballads. Violet‘s “Bloodbuzz Ohio,” is quick-paced and while it’s still wanting, it sounds of hope. “Sorrow” bleeds a happy/sad feel. Matt Berninger states, “I don’t want to get over you,” in a way that says, “yeah, I’m down, but at least I can feel, man.” Very Dostoyevsky.

“Anyone’s Ghost” has memorable steady drum beats scattered across swerving melodies, while the slow building “Tribble Love” exudes needing want.

And then there’s “Conversation 16,” which romps along in a Joy Division way until Berninger proclaims, “I said what I said; I didn’t mean anything,” and that “I was afraid I’d eat your brains. Cause I’m evil.”

Violet‘s songs sound almost deafening at times; scratchy and rough, shrill and bleak. But the melodies and subtle instrumentals bring out each song’s beauty, and almost softens each tune’s overall grit.

The National‘s 11 track album, which was released on 4AD, is out May 11. Download a few of the album’s tracks here.

Track listing:

01. Terrible Love
02. Sorrow
03. Anyone’s Ghost
04. Little Faith
05. Afraid of Everyone
06. Bloodbuzz Ohio
07. Lemonworld
08. Runaway
09. Conversation 16
10. England
11. Vanderlyle Crybaby Geeks

Saharan Gazelle Boy‘s Airplanes Can’t, released on Kansas City label, The Record Machine, evokes thoughts of sunny sea sides and breezy afternoons.

Saharan Gazelle Boy is the solo project of Darin Seal from Kansas City’s classically calm indie rock band, Capybara. Seal incorporates Capybara’s quaint style with his own soft, subtle melodies. Big-hearted folksy tunes sway, indie rock rhythms gallop, and electronic beats pitter and patter across speakers like subtle spring raindrops.

Simple, free-flowing synths bend and sway through the album’s title track, “Aiming a Wave.” Melodies play out in tiny verses. Delicate vocals, which are almost fainter than the song’s backing music, serve as musical icing.

Airplanes‘ songs slide from scratchy, old, ragtime tinged tracks to fast tempo 80s dance songs that take on influence from new wave artists, such as New Order.

The sleepy-eyed ballad, “Those Days,” sounds as if it’s drifting out of an old jukebox, similar to the feel and pace of The Flamingos‘ “I Only Have Eyes for You.”

While the album’s songs are simple in structure, each sounds whole. Airplanes‘ 11 tracks are diverse and a good buy for $2. Buy the album, and drive yourself out to a lake. Lay back, insert ear phones, relax.

Xiu Xiu‘s Dear God, I Hate Myself contains rushing, electronic pop melodies paired with dark, self-loathing lyrics. The perky goth album is chaotic and confusing, but calming and cathartic all at once.

Xiu Xiu

Jamie Stewart‘s dainty yet urgent vocal style allows his voice to wisp around the album’s chiming melodies. Stewart sings each word like it’s a hidden weapon. While the beauty of the lyrics draw you in, they cut deep. Angela Seo‘s (piano, synth, drum programming) buzzing electronic clicks and heavily syncopated beats accent each song, setting each track’s diverse mood.

Dear God‘s songs ooze tragedy and energy. Tracks go from painfully stressed, wanting ballads (“The Fabrizio Palumbo Retaliation”) to light, string picked folk (“Cumberland Gap” with John Dieterich). Dear God‘s title track has a sense of demented optimism; insanity and sadness with a tinge of underwhelming hope, and eternal dislike, as expressed when Stewart whispers, “and I will always be nicer to the cat.”

Don’t expect to know what’s coming next on Dear God or attempt to understand the point Stewart and company are trying to get across. The album’s tone shifts with each spin. A conglomerate of haunting, bothersome, upbeat, sex crazed and psychopathic feelings, all wrapped in a pretty little desperate package.

Track Listing:
1. Gray Death
2. Chocolate Makes You Happy
3. Apple For A Brain
4. House Sparrow
5. Hyunhye’s Theme
6. Dear God, I Hate Myself
7. Secret Motel
8. Falkland Rd.
9. The Fabrizio Palumbo Retaliation
10. Cumberland Gap
11. This Too Shall Pass Away (For Freddy)
12. Impossible Feeling

Canada’s Basia Bulat wrote many of the songs on her sophomore album, Heart Of My Own, while touring. Some songs were influenced by the unique scenery that surrounded her as she traveled from city to city.

The changing landscape allowed Bulat to clear her mind, embrace creativity and put out a fresh album.

Basia Bulat, Heart Of My Own, due out Jan. 26.

Heart Of My Own contains folk, rock and americana influences. Bulat’s emotional voice can change from delicate and sweet, to deep and full, to quirky and jazzy in a matter of minutes. She effortlessly sings atop playful and cute tunes, a doo-wop balled, and romping, fast paced tracks.

Some songs on Heart are tiny and hollow. You can envision a listener relaxing on a secluded house’s front porch as Bulat’s music gently drifts out its front windows. Then, without notice, Bulat and her fellow musicians flood your ears with soulful choruses, swelling orchestration and rich female vocals that could fill a large stadium.

Heart Of My Own is a diverse album that any folk lover will fall head over heels for.

Track Listing:

1. Go On
2. Run
3. Sugar And Spice
4. Gold Rush
5. Heart Of My Own
6. Sparrow
7. If Only You
8. I’m Forgetting Everyone
9. The Shore
10. Once More For The Dollhouse
11. Walk You Down
12. If It Rains
13. Hush

Basia Bulat on MySpace

I had never heard of the Brian Jonestown Massacre until I watched the classic rock-rivalry documentary Dig!, which featured The Dandy Warhols and BJM.

I presume both bands were whacked out of their minds while making the film, but the movie was still quite entertaining. After seeing the movie, I stayed tuned to the Warhols, and have checked up on BJM every so often to see what kind of hi-jinks they were pulling.

So, imagine my surprise when a copy of BJM’s new album came a’floating into my inbox.

Who Killed Sgt. Pepper? was released on January 1, 2010, and I’m relatively certain that each song on the album is about a different stage in a drug trip.

The album is chock-full of jam-tastic tracks. I admit, this style isn’t my thing, but, if you are into deep bass, squealing guitars, faint, chanting vocals, and hypno-dance beats, this album is for you.

Although many of the album’s songs meld together into a psychedelic jumble, a few stand out. “White Music,” is filled with iridescent electronic tones. Picked strings play atop ambient noise.

In “Someplace Else Unknown,” the band creates a driving march inspired beat. The song’s lyrics, which tell of drug hounding and violence, are a bit ridiculous and weaken the song, though. The band’s point is driven home, however; they seriously don’t give a fuck about fuck, unless you’re fucking talking about fucking drugs, man.

“Felt Tipped-Pen Pictures of UFO’s,” is a mishmash voices. John Lennon‘s “The Beatles are Bigger than Jesus” interview is mixed and played over other people talking about Lennon and The Beatles. Hmm … wait, hmm?

Track Listing:

1. Tempo 116.7 (Reaching Dangerous Levels of Sobriety)
2. Pungur Hnifur
3. Let’s Go Fucking Mental
4. White Music
5. This Is the First of Your Last Warning
6. This is the One Thing We Did Not Want to Have Happen
7. The One
8. Someplace Else Unknown
9. Dekta! Dekta! Dekta!
10. Super Fucked
11. Our Time
12. Feel It (Of Course We Fucking Do!)
13. Felt-Tipped Pen Pictures of UFOs

Top 3 Albums of 2009:

• Dead Man’s Bones – Dead Man’s Bones
• Bat For Lashes – 2 Suns
• Spinnerette – Spinnerette

Best Show of 2009:

• NIN Wave goodbye tour in KC tied with Emilie Autumn (crazy original)

Most Anticipated in 2010:

• Massive Attack’s new one

Most Overrated in 2009:

• Mmmmmmaybe YYY, but I still liked the album.

Favorite Musical Memory of the Decade:

• Lolla 2008 – First trip I took to see a show since being in college. Plan on taking many more when I get cashes.

The Eighth Street Taproom’s basement was filled with haunting music on the night of Friday, November 13. Two wonderful local bands and another band from Omaha, Neb., brought many people out on the cold, dreary night. 

Shiver, Shiver, started the evening with jazz infused rock. Chase Thornburg (drums, vocals) and Jordan Elsberry (keys, vocals) performed upbeat songs that had melancholy lyrics. The band’s 2008 debut release, Soulless Sex Appeal, “is a portrait of the simultaneous embrace and rejection of our chapter in the age-old story of love and lust.”

It was hard to believe Shiver, Shiver, only had two band members. Elsberry and Thornburg’s music was full and robust. Their vocal harmonies stood out, and Thornburg’s drum solos were outstanding.

By the time Kansas City, Mo.’s Roman Numerals took the stage, the Taproom’s basement was crowded. People packed into the small room, and wedged between Shiver, Shiver, and Cowboy Indian Bear‘s equipment and merch.

Numerals’ sound blends new wave melodies with precise percussion.

Many of Numerals’ songs’ melodies echoed over the band’s driving bass and drums and created a rumbling, hypnotic sound. William Smith (guitar, vocals, stylophone) and Steve Tulipana‘s (vocals, guitar, bass, synth) voices pierced through the sounds Shawn Sherrill (bass, synth), Pete LaPorte (drums, electronics), Ryan Shank (drums, electronics), and created.

During the middle of Numeral’s set, orange and red hues lighted the Taproom’s dark basement. The lights almost welcomed Numerals’ darker, dance-rock tracks; vocals were rough, and gritty bass caused the other bands’ drums to buzz. The band sounded like a darker !!!.

Numerals finished their set by thanking everyone in the audience. Numerals put on a great performance, and left the audience wanting more.

Set list (written on a cocktail napkin illustrated with lightening bolts):
In Motion
CNtRL
Rule Of V
My Life After DUB
Occupado
Go/No/Go
Bass Fishing

Now, this reviewer didn’t stay for Cowboy Indian Bear’s set. The reason for this was PopWreckoning writers’ have reviewed CIB many times this year; see here, here, and here. Here is a quick description of CIB for the readers who don’t click links:

Cowboy Indian Bear blends electronic melodies, soft vocal and guitars, a humming bass and lots of percussion to create a unique sound. The Lawrence, Kan., indie-rock band’s songs are influenced by jazz, 60s lounge, folk… the list goes on.