Tobacco- Fucked Up Friends (2008)

If you dig: Black Moth Super Rainbow, Flying Lotus, Prefuse 73, Four Tet

I don't understand how anyone could honestly not like Tobacco's Fucked Up Friends. On the album, Black Moth Super Rainbow leader Tom Fec uses the psychedelic palette of bubblegum sounds that his band uses: the warbling flute lines, buzzing synths, spacey percussion, vocoders, etc. But Fucked Up Friends has a unique focus on rhythm, giving it a more hip-hop feel. Though much of Black Moth Super Rainbow's work has always featured impressive rhythmic and percussive background, Tobacco allows Fec the control to construct short variations based on brilliant blends of strange psychedelia and engaging beats. Fec's preference for analog devices gives the songs a mysterious vibe, sounding both futuristic and old and haunted at the same time. Fec described that the album is inspired partly by "fucked up" 80s workout videos and the songs' energy and weird sounds (along with its fantastic cover art, seen above) perfectly convey the "awful yet good and curious" Fec claims he is trying to achieve.

"Truck Sweat," my favorite off the album, starts with a crunchy snare beat and a foreboding ascending loop before exploding into a weaving mix of bouncing synths, flutes and warped vocals. "Berries That Burn" alternates between space age synths and hammering bass and drums. Right in the middle of the album there is an awesome feature by Aesop Rock, though I think Tobacco's stuff is ultimately better sans rapping. To me, the beats are just to compelling and layered to not pay attention to.

Anti-Apartheid Poetry, DC Shows, Etc.

Welcome back. Been kind of slacking with posting lately so here's a bunch of goodies.

I had this awesome guest lecturer yesterday for my US-Africa Policy course named Dr. Keith Gottschalk. He grew up in South Africa during apartheid and would read his poetry at anti-apartheid rallies. He performed a few for us and I managed to find some more of it here.

For those readers reporting from the DC area, there are some awesome shows coming up.

The Black Cat
Wed Mar 24- THE RUBY SUNS, TORO Y MOI $10 Backstage 9:00
Thu Apr 15- OWEN PALLETT (formerly Final Fantasy) $15 Mainstage 8:00
Fri Apr 23- THE TALLEST MAN ON EARTH, NURSES $12 Mainstage 9:00

Caribou- "Odessa"

Caribou is the moniker of Canadian electronic musician/multi-instrumentalist Daniel Snaith. Although I dug a few tracks from his 2007 Polaris prize winning album Andorra, I never really quite understood all the praise that it got. But I could definitely respect it; it's undeniable that the man has a knack for composing some interesting and catchy tunes.

A few days ago, Merge Record announced the release of Caribou's new LP Swim on April 20th and debuted the album's first single, "Odessa." Upon listening to "Odessa" for the first time, I was instantly drawn to it more than any of the tracks on Andorra. The track has Snaith's ethereal vocals and smooth melodies, both familiar dynamics of Caribou's music. But its funky bass line, dissonant background noise and simple percussion give the track a certain danceable feel that was absent on Andorra. "Odessa" has got me excited for Swim, despite any gripes I might have had with Andorra. If Snaith is able to blend his unique palette of sounds with more rhythm-oriented, upbeat dynamics, Swim may be one of the most interesting releases of the year and certainly a restorer-of-faith, so to say.

Download "Odessa" by clicking the album artwork above or stream the track below.

Caribou- "Odessa" from Swim (via I Guess I'm Floating)

Liars- Sisterworld (2010)

By now, Liars probably need no introduction. After putting out two stunning LPs, 2006's Drum's Not Dead and 2007's Liars, the New York City trio have returned as strong as ever with 2010's Sisterworld. The record lies halfway between the ambitious noise/heavy percussion of Drum's Not Dead and the more straightforward punk of Liars. What comes out is kind of like the bastard child of Radiohead and Sonic Youth. "No Barrier Fun" is a haunting combination of pulsating percussion, throbbing bass and eeire violins, while "Scarecrows On A Killer Slant" could be the heaviest thing Liars have done, full of sadistic lyrics and blaring guitars. The rest of the record employs all the dynamics Liars have been perfecting over the years: the haunting lyrics and moans of Angus Andrew, the experimental guitar soundscapes of Aaron Hemphill and of course the captivating percussion of Julian Gross. Even the dance punk of the band's early albums is present. The result is a masterful mix of punk and unfettered noise that might make Sisterworld Liars' most focused and well written release to date.

Sisterworld comes out on Mute on March 9th and will feature a bonus disc of remixes by artists like TV On The Radio's Tunde Adebimpe, Atlas Sound and Thom Yorke. Click the album artwork to sample the record but be sure to pre-order it or buy it when it comes out.

The Fiery Furnaces- I'm Going Away (2009)

I think Brooklyn duo The Fiery Furnaces was the first ‘indie’ band I saw live, back in 2007. The Fiery Furnaces is the moniker of brother and sister duo Matthew and Eleanor Friedberger. If you ask me, Matthew Friedberger is one of the most talented songwriters of our time; brother Friedberger writes all of the Furnaces’ music, records most of the instruments and writes the lyrics, which are in turn sung mostly by his sister. Whether it be the sprawling 10 minute, mind melting tracks found on 2004’s Blueberry Boat or the concise, complex pop of 2009’s I’m Going Away, Friedberger’s ambitious songwriting abilities are evident in all facets of their music. Blueberry Boat, while being one of the most critical acclaimed albums of the year, can be an admittedly difficult and tedious album to appreciate. But what the Fiery Furnaces managed to do on Blueberry Boat was strike the perfect balance between their zainy, schizophrenic songwriting and their pop song sensibilities. Think about what it would sound like if Girl Talk had been the fifth Beatle. Matthew Friedberger’s love for abrupt switches and off-tempo interludes makes their music paradoxically both cohesive and spastic. Their efforts since Blueberry Boat have found mixed success in finding that balance. 2006’s Bitter Tea is overbearing and tough to get through and while 2007’s Widow City lacks a distinct flow, it contains some of the band’s technically impressive material. The band’s live show is one of the most incredible I have ever witnessed, with Matthew leading onstage instrumentalists through seamless transitions from song to song and tempo to tempo, while jumping back and forth between two keyboards and singing.

What’s interesting is how polarizing the band’s signature musical dynamics have managed to be. Their ADHD styled compositions have been lauded by some, but called “toe-curlingly unlistenable” by NME magazine. Not to mention their love for doing weird shit like writing concept albums with and about their grandmother (check out 2005’s Rehearsing My Choir if you want to hear Grandma Friedberger do spoken word, seriously) or hiding secret messages in backwards vocals will surely turn a lot of people off. That’s why I think that The Fiery Furnaces’ 2009 album I’m Going Away will both please fans of old and perhaps convince some people originally turned off to the group’s wild antics. I’m Going Away finally finds a band focused and content with writing concise, traditional alternative pop songs. The result is a strong, refreshing and catchy album that retains the complex subtleties that have gotten the band this far while embracing a more manageable approach to songwriting. Album opener “I’m Going Away” has the signature driving dynamics that we saw on Widow City: sliding bass, bouncy piano, intense percussion and Eleanor’s frantic lyrical onslaught. Much of the album’s songs find their strength in their use of catchy piano and guitar lines that mirror Eleanor’s subdued vocals, namely the gripping “The End Is Near,” the lighthearted “Even In The Rain” and the brooding “Keep Me In The Dark.” Equally as rewarding is how well the album’s longer tracks work when placed next to the rest of shorter tracks. “Lost At Sea,” the album’s standout, features one of Eleanor’s most riveting and emotional vocal performances paired with dramatic chord changes and a revolving guitar line. And despite its six and a half minute length, album closer “Take Me Round Again” is one of the most captivating, with Matthew and Eleanor repeating a rousing chorus backed by jangling piano keys.

Unlike Blueberry Boat, there’s no 10 minute title track to be found on I’m Going Away. Instead, we find shorter but equally as ambitious stabs at eclectic alternative pop. And while I’m sure some fans will find call it a ‘lazier’ or ‘dumbed down’ version of the band, I think I’m Going Away is the strongest thing the band has done in years. In a musical year full of surprising comebacks (It’s Blitz!), the Fiery Furnaces have earned a spot on the list of the year’s most interesting albums and have certainly reassured me that they are still capable of captivating and reinventing. And don’t worry, the band hasn’t lost any of their craziness, as is exhibited through their recent release of Take Me Round Again, for which they both recorded their own interpretations of songs from I’m Going Away. Right on.

Click the album artwork to sample I’m Going Away and I have also included a little bonus: The Fiery Furnaces’ awesome cover of The Beatles’ “Norwegian Wood (This Bird Has Flown)” from the Rubber Soul tribute album This Bird Has Flown.

mp3: The Fiery Furnaces- Norwegian Wood (This Bird Has Flown) from This Bird Has Flown: A 40th Anniversary Tribute To The Beatles' Rubber Soul