Tag Archives: indie rock

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Album Review: Mountain Moves – Deerhoof

As the reigning avante-garde veterans with a career spanning 24 years, it’s not surprising that Deerhoof have taken it upon themselves to gift us with the most intelligent punk protest of 2017. Make no mistake, Mountain Moves is definitely a protest album, with most of the lyrics critiquing the outcome of the U.S. election in one way or another. But Deerhoof expertly rise above the labels cast upon most protest albums, choosing instead to outwit their enemies by crooning barbed insults set in poetry instead of screaming out a list of injustices (which, at this point, would take much longer than the 40-minute album allows).

Deerhoof have always incorporated a variety of different musical genres and styles into their thirteen previous studio albums, and on Mountain Moves it appears that they are ready to up the ante. Each track is slightly different than the rest, keeping the listener on their toes; the fifteen tracks speed by in no time at all, with originals broken up at pivotal moments by interesting covers. Mountain Moves also proves the old adage that strength lies in numbers, employing numerous collaborators such as Juana Molina, Xenia Rubinos, and Awkwafina. Deerhoof creates a colorful tapestry of sound, the diverse textures noticeable but working together to achieve a common goal.

As the opener for Mountain Moves, “Slow Motion Detonation” signifies a return to the stage for Deerhoof. It smolders and simmers, a slow burn of a track that proves to be an interesting tactical choice; but then again, Deerhoof has never had a penchant for the ordinary or expected. “I Will Spite Survive” is the pop punk album that we’ve been looking for since January 2017, a highly accessible track that features Wye Oak’s Jenn Wasner. Her smoky mezzo-soprano blends very well with lead singer Satomi Matsuzaki’s reedier soprano as they alternate singing the chorus: “Sleep at night/If you can stay alive/Stay alive/If you can sleep at night.”

“Your Dystopic Creation Doesn’t Fear You” easily serves as the most musically diverse track, a powerhouse that showcases classic punk guitar riffs while Awkwafina spits fiery rhymes. At one point, there is an abrupt shift in mood before returning to sizzling pop melody; the track moves effortlessly between hip hop, punk, and dream pop, a stunning reflection of existential angst and confusion. “Ay That’s Me” digs deeper into this theme, with esoteric lyrics provided by drummer Greg Saunier and lush, atmospheric instrumentals. The track slowly builds to a crescendo before a fleeting burst of strings catalyzes its decomposition; mysterious and haunting from start to finish.

The title track, “Mountain Moves,” is a truly bizarre and experimental track; but again, is anyone surprised? Matsuzaki alternates between spoken-word English and Japanese lyrics, an interesting use of her vocal talents and a chance for her to sing in her native language. However, it is Matana Roberts who makes the track come alive with her spectacular trumpet skills. Deerhoof includes three cover tracks on Mountain Moves, all different and relevant in their own right. “Gracias a la Vida” (Vioeta Parra) provides a beautiful, haunting segue in the first third of the album, the sorbet to Mountain Moves’ multi-course meal. Matsuzaki adds her interpretation of the Staples Singers’ “Freedom March,” morphing it into a rockabilly protest anthem.

The album finishes with “Small Axe” (Bob Marley), putting the perfect finishing touch – voila! – on such a cleverly-masked protest album. Deerhoof chooses to take a completely different approach with this track, stripping the song of any instrumentals save a few piano chords. This newfound intimacy allows the listener to internalize the band’s final fighting words: “If you are the big tree/We are the small axe/Ready to cut you down/To cut you down.”

Album released: September 8, 2017

–review by Juliana Van Amsterdam 

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Album Review: The GTs – Good Times

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Good Times is the debut LP by local duo The GTs. With this album, Samantha Diamond (drums) and Paul Trudel (vocals and guitar) tactfully capture the apathy, uncertainty, and subdued angst of young-adult life via indie rock. This very well may be a projection of my current outlook on life rather than what the Montreal duo intended; however, each track on this album appeals to the quandaries of young adult life in some form or another.

Right off the bat, the opening track “Stoned” feeds into the album’s motif of uncertainty with the ever-so-relatable line, “I know everything, except when I don’t.” Trudel’s lyrics, accompanied by guitar and Diamond’s animated drumming, grasp both the inflated ego and self-doubt experienced by every young adult. Similarly, the upbeat track “Lonely” perpetuates a good-natured acceptance of simply not knowing what has happened to one’s life. The line “I’m way past twenty-one, wondering what I’ve done,” though partly comical, conveys the reasonable yet dispirited view one may have when looking back on the fleetingness of youth. What’s more, with “Charlie Kaufman,” The GTs concoct a wistful love song that perpetuates the well-known feeling of being adrift when lovestruck. This track’s soft and melancholic elements are augmented as Trudel’s voice channels the likes of Jeff Tweedy on Ashes of American Flags. Moreover, with “Monica,” The GTs produce a tune both delicate and sentimental. Though similar to “Charlie Kaufman,” this track’s maturity and minimalist structure are reminiscent of Yo La Tengo’s sound on And Then Nothing Turned Itself Inside-Out. Furthermore, on “Mom Song,” Trudel sings to his mom the very blunt line “I hope you’re proud you made me.” In a simple way, this lyric underscores every child’s longing for parental approval, possibly stemming from feelings of insecurity, which fits very nicely with the album’s overall theme. Finally, The GTs conclude their debut album with “So Long.” Together, Trudel’s voice, echoing Thom Yorke on “High And Dry,” and the increasingly blurred instrumental, foment a sense of disorientation as the album slips away.

First and foremost, my interpretation of Good Times may misconstrue Diamond and Trudel’s intentions. Be that as it may, it just goes to show that Good Times, with its gentle strain of indie rock, is both engaging and (for some) able to elicit a strong emotional reflection. Therefore, if in search for an accessible yet nuanced blend of indie rock, then The GTs’ Good Times will prove to be an enjoyable listen.

 

– Review by Soraya Mamiche Afara

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Album Review: I Had A Dream That You Were Mine – Hamilton Leithauser + Rostam

imgresLet’s do an exercise: imagine that you’re at your favorite local joint and in a dusty corner stands a somewhat saturnine singer, crying into a standing mic while a man in the shadows accompanies him with an old piano and soft backup vocals. Now, imagine that the singer is former Walkmen frontman Hamilton Leithauser and the genius on the piano is ex-Vampire Weekend member Rostam Batmanglij.

If you’re excited by this scenario, then you’ll be happy to know that these two indie rock masterminds have teamed up for a full album, I Had A Dream That You Were Mine. Batmanglij (known simply as Rostam professionally ) and Leithauser met and collaborated in 2014 for Leithauser’s first solo project, the Sinatra-inspired Black Hours. They soon formed a friendship over shared origins – both originally hail from Washington D.C – and a mutual sense of respect and admiration.

The album masterfully combines Leithauser’s rough-and-ready bad boy howl with Rostam’s smooth production and international influence; a hint of Afro-pop influences, similar to those that carried VW’s first album, are noticeable in the background of certain tracks. The instrumentals follow a vintage sound throughout, where the doo-wops and the continual plink of a piano are accompanied by sparse drums and subtle horns.

The album begins with “A 1000 Times,” which sneaks the album title into the chorus. The track is a good litmus test for what is yet to come, but is admittedly one of the less imaginative tracks in the collection. “Rough Going (I Don’t Let Up),” otherwise known as “that track with the doo-wops,” is a melange of sounds and musical genres. A bass beat reminiscent of a barnyard boogie underlays Rostam’s polite background vocals, with Leithauser’s ragged howl at the forefront of the track.

On “You Ain’t That Young Kid” Leithauser speak-sings, painting an intimate picture of a man nursing a broken heart; the lyrics here are deliciously heavy and human. Clever tempo changes keep the track from feeling cut off. The first part features harmonica and plucked electric guitar, which then crescendos to feature an organ-like instrument and a slowed tempo; Rostam’s signature arpeggios litter the bridge as a powerful beat almost overpowers Leithauser’s vocals. The last tempo change returns the track to a more even-tempered, reflective place, featuring Leithauser’s vocals once again.

“The Bride’s Dad” is the penultimate track, beginning with a wistful piano accompaniment and harmonies between the two artists; Leithauser’s timbre falls to his comfortable gravelly yell, while Rostam remains in the stratosphere. The track climaxes with a sudden crescendo, introducing thumping drums, hand clapping, and more forceful piano. The addition of the well-known synthetic choir accompaniment provides a moving finish. While the track is short, barely cutting off at two minutes, it is a powerful one.

I Had A Dream That You Were Mine centers around the general theme of loss, but the music disguises the darker lyrics well. The tracks remain musically diverse: at times there is a raw and uncut feel to tracks, loose drums and lyrics slung with a casual “je ne sais quoi” attitude that flirts with the sadboy mentality – a trademark of the Walkmen. At other times, Rostam’s prowess as a producer and his influence as a member of Vampire Weekend shine through, creating musical gems that sparkle through underneath Leithauser’s dusty vocals and soulful lyrics. 

Album released: September 23, 2016

–review by Juliana Van Amsterdam