Los Campesinos! - Hello Sadness /// Are you there past lovers? It's me, angsty music

I can't wait for Hello Sadness. No, really. I've listened to it and all of that business, but I really can't wait for it. I can't wait for that moment where I press play and one album length later, I feel oddly relieved. I can't wait for when I start to remember words; I can't wait for that first emotional breakdown I share with it; I can't wait until I shed a tear to it or fall asleep next to it and wake up next to it void of regret...

Los Campesinos! does that to me. They are a band that specializes in pathos; they are the soundtrack to your break up and the background music to every lust fueled romance. But most importantly, they are emotive. Every single word inspires sympathy or relatively, and every single word bears that bittersweet resemblance. The problem is, I'm still trying to find that in Hello Sadness...

Even on past albums, when songs were off beat or purposely humorous ("I think we need more post coital and less post rock"), they could always be taken seriously or at face value. But that unique quality seems lost in Hello Sadness's "character." The band has described it has the most sincere album of theirs to date, but the eloquence at time fails them as less verbose and intricate choruses and verses bring the album to an idiosyncratic halt. "Songs About Your Girlfriend" is already an infantile name for a song, but singing of making "her purr like a cat" just seems so childish it can't help but capture the listener for the wrong reason. And what of "You are an angel, that's why you pray/And I am an ass, and that's why I bray"? The flow of the album is immediately broken up by these troublesome lyrics. But that isn't the only fault with Hello Sadness...

By trying to make a sincere album doused in depressive lyrics and undertones, Los Campesinos! sort of said farewell to half their sound and stumbled onto much ado. Songs vary in quality and emotive songs, though they outweigh the faltering ones, don't seem to match up against past centerpieces. "To Tundra" is a terrific highlight, but one must really dwell on the album before creating that relation to it. Hold On, Youngster was uppity, but in an effective manner and often juxtaposed the subject matter. Shorter, catchy songs paired with well positioned and composed transitory pieces made for a memorable album and Romance is Boring did much of the same, but with more depressing content. There is no "You! Me! Dancing!" on this album nor is there a "Sea is a Good Place to Look to the Future." The single "By Your Hand" is a terrific melody and tweeish singalong; "To Tundra" is that perfect emotional breakdown song. But where other albums succeeded in pairing its memorable tunes with those well placed pieces, this album feels full of B-sides. I want to call it directionless, but it seems just the opposite at times just the direction is antithetical to what I wanted and expected...

This doesn't mean Hello Sadness is a flat out bad album, it's simply comparatively not up to expectations. The album, instead, falls into this unwanted purgatory where it borders on being a stand out, but falls on the side of forgettable. Ten years from now, I can see myself playing Romance is Boring and remembering how I felt it paralleled my break up. I can play We Are Beautiful, We Are Doomed and remember that first time I heard "Oh we kid ourselves there's future in the fucking/But there is no fucking future," then smirked only to have that line recur over and over. Instead, Los Campesinos! has gone with a slightly different tone and a more serious subject matter, but sometimes it felt like they should have stuck to their old sound. I commend them for making this album, I really do. In an industry that condemns breaking a norm, they wrote what they wanted to write; to be completely honest, I can't see this album losing them any devout fans. It's just in a year of memorable releases, where will it stand? Where will it stand within their own material? Regardless, Hello Sadness is an album that deserves to be experienced a couple of times. In the mean time, I'm going to wait for that connecting experience to occur so I can hopefully appreciate this album the way it deserves to be appreciated.

American Mary, or, the National and Autumn, or, the Excitement of Seeing a Band Twice

Last year was a big year of concerts for me. I was able to see Arcade Fire, Broken Social Scene, Sufjan Stevens... These were all bands that I had anticipated seeing and to have them in such a narrow time period made for a very fulfilling couple of months. This year hasn't been much different and I am an incredibly lucky person to be living where I am, to be so close to these venues, and to have a certain person to see them with. But now it's nearly November. Dreary, drab winds have taken a home in alleyways and busy streets bluster with men among gusts. Winter is nearing and the grey, monotonous days have begun to roll in. But as the sun retreats behind clouds and we gather up coats and shelters, this is the perfect time to break out the depressing sounds of the indie (an appropriate term for the band that began as part of the DIY culture) kings, the National...

High Violet was only released last year. This was following the immense success of Boxer. It's not frequent that a band renown for such depressing sounds and lyrical content can find such commercial and critical success, yet the National has somehow done just that. Their sound has not been matched in its seasonally synonymous nature. Brisk winds and coloured leaves falling like peeling scabs getting caught and whisked away come through in each song. Wandering blank, bleak concrete with slanted rain drops hitting your face has not been matched with a better song than England. The sound can not only be attached to surroundings and a setting, but a feeling that, in turn, is attached to a setting...

Not only do I get to see the National, I get to see them twice. This is an opportunity that I've been waiting so long for. To see a band on back to back days, I can't get over how lucky I must be. And here we are, in autumn with winters ways coming in our direction, the optimal time for such a sound. Matt Berringer's distinct baritone resonates in this dismal atmosphere and the intriguing twin duality between the Devendorfs and Dressners creates the perfect atmosphere for their minimalist compositions. The National have proven time and time again that excessive additions are exactly that: excessive. With modest doses of strings and brass, the National have created incredibly emotional grounds for their sound to be built upon. With the emotion that they have grown from, one can't help but associate the music with the gloom of autumn filling the streets, flooding around our ankles then taking us whole...

How fitting that with autumn coming to a close, the National will be completing what will probably be the last shows in support of High Violet. If you live in an area that they will be playing around, I recommend checking them out. The support acts for this tour so far have been superb and you will certainly be getting your money's worth. If you can see them twice, and your budget permits, consider the chance to see two of these shows an focus on the different acts. With the weather as it is and band's sound, don't be afraid to dwell on the sadness that has been interwoven into their sound, this is an experience you certainly cannot miss out on once, let alone twice.

Joel Brandt - The Wind & the Waves

"Simplicity is not stupidity." That quote has always been a favorite of mine. Its implications toward music, even art in general, is very bold. To the whole singer-songwriter classification, its meaning is truest. How could one condemn something for simplicity if that is precisely what defines it? However, this statement doesn't simply validate everything in being a reduced, uninspired display nor does it state minimalist intentions are instantly art. Therefore, it's hard for a singer-songwriter to find their niche be it in simplicity or elsewhere. But, as local musician Joel Brandt has proven, sometimes having access to a more advanced recording method will only refine the sound to a new level as opposed to sacrificing identity.

I've had the great pleasure of playing with Joel, seeing him perform and, heck, even just talking to him. He is possibly the nicest musician I've met so far. His modesty is exceeded only by his talent, but you'd never hear that from him. His personality is his sound and vice versa. It's important to note that. But it's also important that I'm not just going to praise him out of companionship...

For a musician to not rely or depend on a gigantic sound to mask overall talent is bold as any flaw or idiosyncrasy is on display with nothing to distract you from it. Very few have been able to pull this off well (not to say that it hasn't been pulled off). For Joel, it seems like it's simply his nature to put his identity forth in his sound (as aforementioned). The result is an impeccable representation of who he is in his music with mentions of his love, religion and artistry. Every song opens a new window into who he is...

But what is so unique about this EP is that he doesn't simply depend on one aspect of his music to carry it. The lyrics are on par with the music and the music is beautifully dainty. This is music in its rawest and simplest form, and though it isn't flawless, the flaws only separate Joel from other musicians...

As I said before, I have the privilege to say I know Joel. From this, I can state that no one else I know has become more confident and defined in their musicianship. His voice is incredibly bold without being overstated. There is no overcompensation here. His comfort in his role is evident and, because of that, it does exceptionally well at what it is meant to do. By not attempting to be anything it isn't, his EP is a promising start to Joel's studio career. With this being his first work in a studio, one can only wonder what he can accomplish on a full length. If he can keep progressing as he has, he can be one of the west coast's most promising acts on the same level as Aidan Knight, We Are the City and Said the Whale. All he needs is that full length. All he needs is that tour. All he needs is that exposure. Joel Brandt is a great song writer and an even better person, the type of person that can succeed in music with little effort. All he needs is time...

If I've piqued your interest at all, PLEASE check him out and support him. He deserves it. This EP is not just good for a local musician, it's a good EP by any standards (including my own very high standards). Keep in mind that the quality on the other releases may not be as good, it's still really good music. This is his Bandcamp:

http://joelbrandt.bandcamp.com/

Premature Evaluation: Los Campesinos! - Hello Sadness

I waited a long time for Romance is Boring. Not as in I heard an album or two, liked it and couldn't wait for more; not in a prodigious sense where the band appealed to me unlike any other; rather, that album was the first I had heard from the Welsh band. I needed that album. It was the voice of angst in a generation overemotional beings with faux tears and anxious sorrows with rampant sadness and romances. But most of all, it spoke to lusty heartbreaks and hormonal teenage passions. Though I've never aligned myself with such a group, the distaste towards archetypal love reverberated in the sense that it made me feel grounded. The whole bashing of a generation and love itself made sense at the time like no other music did, so I clung to it...

Hello Sadness is not out yet. It hasn't even leaked, so don't bother looking right away. No, only two singles have made their way to the internet to be heard and, though this isn't any definite sign of what the album will be like, it does give us a very minimal first impression. Unfortunately, this isn't the first impression I was hoping for. Though By Your Hand is an incredibly catchy song, it, along with the titular track, lacks what made their past albums so special and unique. The lyrics are less, forthelackofabetterword, aggressive and the self-deprecating tone has been raised to a nearly hyperbolic, yet infantile, state. Now, the sincerity seems lacking and the presentation unenthusiastic. Maybe it's the constantly changing line up or maybe it's simply a change in direction, but now they just sound... generic...

Los Campeinos! are still standouts with their tweeish sound. Their voice is still unique and this album will still probably be a standout among albums going for a similar tone. For the most part, my excitement has not wavered enough to worry me, but I'm still somewhat hesitant with what has been presented. I can somewhat conclude that this won't be Romance is Boring or anything of the sort, but it will still be Los Campesinos!. In the end, that will be enough...

The Decemberists and why I will never listen to country...

I am a Decemberists fanboy. I was eager to get my hands on the King is Dead. I gladly paid the extra money to get the limited edition with the vinyl/CD/DVD package. I then gladly paid the money to go see them live. And when I had to write a review of it, I praised it for what it was. But that was the problem, what it was: a tribute to American music that shied away from what made the Decemberists so special...

Let it be noted... I hate country music. Well, I hate the country music I've heard and afterwords classified as country music. I've spent long work days with someone who listens to it and ergo heard it for about 4 or 5 hours. Now, this is the country music he listened to and it heavily juxtaposed my interests...

I know that the rap I hate is contrasted by the rap I find acceptable to listen to and, therefore, I know there is probably some less iconic or archetypal country music that I can probably enjoy. The closest I've come was with the Decemberists, but with my obsessive admiration towards them, I believe I loved the musicians as much, if not more, than the actual music. Just as I praised the King is Dead then, I would do it again; it is not uncommon for me to turn on musicians or albums as their appeal fades, yet I have never had that problem with the Decemberists. I will gladly play the Crane Wife or Picaresque on any given day and still have that immediate appreciation I had followed by the conceptual bewilderment unique only to this band. For that reason alone, I could never turn on them...

But that doesn't make the King is Dead anything it's not...

What is it? It's an intricate and eloquent ballad to nature and seasons. It's a deeply developed album that sounds of its setting. But it's also a bit of a far cry from the Hazards of Love that preceded it. I found myself infatuated with sordid undertones of January Hymn and June Hymn; songs like Rise to Me and Dear Avery were also stand out tunes on an album that, rather than draw from the British folk revival, seeped with Americana flavor and flare. It did have that country feel and vibe to it, but upon further study, it had some things all country I've heard lack...

Perhaps it's only what I've heard, but country lacks, to be quite blunt, an intelligence to it. I should word that differently... Country is simple. I shouldn't mix up simplicity with stupidity. The problem is, it's so simple and rudimentary that it could never appeal to me. The personas prefer to perform songs of fishing and beer and when it does get somewhat sentimental or heartfelt, folkish metaphors and bland, uninspired wording bludgeon me over the head. It appeals to a certain crowd, but I can't help but think the Decemberists proved that genre could offer so much more...

(On a side note, I won't even attempt to explain my disdain towards the voices, it would take too much time and space)

When I listen to bad (a subjective term) music, I find myself thinking that more could have been accomplished, that it simply lacks some innately desired quality and faltered in that sense. When I've listened to country, that feeling is thick and undeniable. There is certainly some musical talent in country, but the generic sound and lyrics simply make it a mass of ten gallon hats and leather with little to distinguish them. The identity of country is not in the musicians, but the music itself, and it is simply one I choose to never become accustomed with.

Active Child - You Are All I See

Music has high tasks. With the evolution of technology and genre, it's difficult for a band to, well, exceed expectations; in some cases, it's very hard for an individual to exceed expectations. One requires not just innovation, but an intuitive self-discipline. A manic show of soundscapes battling talent, production quality versus song writing is often the spectacle modern music is reduced to. As disappointing as that is, there are occasional don't reduce themselves or, alternatively, attempt to go beyond their potential or overdo it. Pat Grossi, aka, Active Child, is one of the rare successes...

Pat Grossi plays harp. He does synthesizers. He uses them to make music. And the result is nothing short of magnificent...

The best way to imagine You Are All I See is a modern interpretation of classic ideas. Think of it as a contemporary innovation applied to rebirth simplistic music knowledge...

Active Child is your music class with creativity. Active Child is an amalgamation of revolutionist approaches on overused instruments and sounds. Active Child is a variety of appealing descriptions, but still doesn't quite complete what one feels it began, be that a positive or negative thing. You Are All I See is impressive, but its substance sometimes feels substandard. The opening track is grasping, Playing House (featuring gloomy R&B artist How to Dress Well) and High Priestess carry the first half of the album and, because of that, it soars. Beautiful textures with an array of talents on display give it a copiousness rare in most other albums. But, as always, interest will wain as the album continues...

Pat Grossi's voice is very fitting and the quiet falsetto defines his music very well. But by "Way too Fast," it borderlines a tedious quality. It has very little to do with his voice, but the context. Perhaps bringing in a guest artist should have been reserved for the second half of the album as the refreshing quality of it could have produced a substantial amount of variety to continue to carry it. It's not that the second half is bad, however, it simply lacks in comparison to the first. But that's a common fault with most albums, no? In an ADD generation, it's natural to tire of a band after some of their best material is complete. It's because of this albums by bands as varied as Sigur Ros and Vampire Weekend can succeed with their albums. They promise something to keep you listening, and the enticing works. Whether it's that one or two song(s) or whether it's a climax to conceptual piece, anything of the sort, is not of importance. It's just that You Are All I See doesn't really go beyond what it establishes itself as...

Overall, the album is a refreshing vision of music itself. It's unfortunately the standards that the album itself imposes that makes it seem like a disappointment at times...

It's because of this that it's rendered as that median album; it's one of those albums that is a step or two away from some impressive territory unseen before, but won't reach it without polish and patience. I want the second album to exceed what this has established. I want Pat Grossi to find himself a comfortable territory and be incredible within it because a man may win a race among others, but pit him against different (not better, different) competition, and it will not have the same result.

Is post rock dead? And if so, what follows....

The future of music is uncertain. I mean, in a business aspect. I mean, as stated by Thom Yorke, it's dying. This can mean one of two things...

i) Corporate music grows. The media's favorite, "darling" bands are going to be the focus as that's where the money is. Independent labels will fade, or, to some extent, have their operations altered to better suit the market. This ominous, and very possible future is looming and could mean the death of the constantly touring, perpetually promoting indie bands. However, the alternate is much more appeasing...

ii) Since there is little money to be made in music as a smaller band, only those with integrity and desire to express themselves will get involved in music. That means that you will listen to a new band and they will resonate with a passion that drove them towards a bohemian definition of success. There is this fallacious understanding that only bands that can be profited on succeed, but now there will be this drive to make music for making music and it will be supplemental to their other jobs. Money won't be an issue. Shows will be for fun, and the spectacle will benefit from such an instance. But where will theatrical, conceptual music belong? Where will post rock belong? The thing is, in both instances, it seems to be in an intermediate gray zone...

Post rock doesn't instigate a rabid fan base. The personality in post rock is lacking and for any post rock band to succeed to some extent, it has been on quality and dedication from a loyal group of fans. In the former scenario, it is easy to see how they will fade and dissipate. But in the latter, could they succeed? Rather, could they benefit? But as stated earlier, can it really inspire dedication from its fans? To state it simply, post rock is defined by a few major players. Let's use two examples to break down such a prospect.

Explosions in the Sky have a cinematic sound. There are sordid soliloquies, climatic crescendos, collapsing conclusions... Everything about them defines how post rock, when done correctly, can move and inspire. Example? Your Hand in Mine. The song itself has an emotion and feeling related to it. In it, one realizes that Your Hand in Mine, though it could be capturing a present moment, is better thought as a recollection, a past event, a memory. Even better yet, it is the concluding song on The Earth is Not a Cold Dead Place, so that feeling of closure is present. This is the band that could survive in the latter scenario. Their sound reflects their attitude towards music and the band itself is a statement of emotion...

But what of a band like Codes in the Clouds? Those post rock bands that are in success purgatory... These bands will probably dissipate in this latter scenario as, and it was hinted before, outreach and relation would be important to guarantee any kind of progression in the dying industry. Their sound is lacking in that very finite quality that will prevent them from surviving the degeneration. The complexity is simply lacking, but they still fall too far from accessibility. Their artistry simply won't be enough to last...

The fate of genre is based on some possibilities, but a few likely probabilities as well. One can simply assume that, like genres that have faded in the past, its two decade run will lose its momentum. Fortunately, we can take solace in knowing that every genre is accessible to some extent, just post rock will need new innovations, if you will, that may separate it from what we know. Of course, one must first define the essential qualities of the genre to really determine what's next, but those slow bands like This is Your Captain Speaking may be left behind whereas those bands blending sounds, e.g This Will Destroy You with electronic layers, may survive. It just seems like in each situation, it's a genre that will likely degenerate or be forced to change to some extent...