Archive for October, 2006

Of Montreal

Tuesday, October 31st, 2006

OF MONTREAL
Hissing Fauna, Are You The Destroyer?
VÖ: 16.02.2007
Label: polyvinyl records
Vertrieb: cargo records

of Montreal is many things. of Montreal is one of the stalwarts of the Athens, Georgia pop scene. Of Montreal ist he recording and performing of one Mr. Kevin Barnes. And of Montreal is one of the many bands still in operation with a tie to the loose Elephant Six collective of the late 90s, a group of like-minded bands centered around that incredible fertile Southern college town. of Montreal is not, however, predictable. And therin loes the appeal of a band that, over the past two albums with Polyvinyl records (in the States and Track and Field in Europe), has exploded from cult appeal to international popularity.
With ist union of Kinks-inspired, late 60s rock send-up and `80s-era synth stylings, the 2004 album Satanic Panic in the Attic planted the seeds for a new audience. Last year´s dance-including, idiosymcratic electro-pop masterpiece The Sunlandic Twins cultivated that expanded and ever-enthusiastic audience, letting a grwoing legion of fans flourish Hissing Fauna, Are You The Destroyer? Arrived on Janury 26th 2007, ready to reap the benefits.
It´s an irrestible and remarkable album, sounding like a logical extension of the erratic indie-disco sounds of Sunlandic Twins. Recorded as a one-man operation in a tiny Norwegian bedroom and an attic in Athens GA, the album swings from swaggering guitar to moody synths, from exultant sing-along to curious combinations of sounds. Lyrically, you´ve got entrancing and rewarding. And if not for the tumultuous year that nearly tore Kevin Barnes apart, it never would have existed.
THIS IS RIGHT NOW
Hissing Fauna ist the most personal of Montreal album to date, with Kevin, currently 32 years old, pouring tremendous amounts of emotion, heartbreak, frustration and elation into ist 12 tracks. Written and recorded primarily during what he calls “šan insane year´, Hissing Fauna saw Kevin adopt a new writting style. It was an unabashedly autobiographical attempt from songwriter whose early material tended towards characters and story-songs.
He went to Norway to have his daughter Alabee, as his wife´s hometown is Oslo.
“žLiving in Oslo, with nothing really to do and no friends really”, says Kevin, “žit was a bit if a culture shock going though all that. I think that, because of the dramatic lifetstyle change, I went though this really intense depression. It was something I´d never gone thtough before.{…}”
THIS IS BACK THEN
Before the success of the last 2 albums (Satanic Panic In The Attic and The Sunlandic Twins) of Montreal spent almost 10 years in what Kevin called the “šindie ghetto´, garnering slight attention but often dismissed as a second-tier `60s-obsessed Elephant Six band.
After spending a little time playing with the band Elf Power, in 1997 Kevin puts together Cherry Peel, the debut of Montreal album release by Bar/None. It was a collaboration with bassist Bryan Poole (The Late B.P., Helium, Elf Power) and drummer Derek Amstead (Ciculatory System, 63 Crayons).
THIS IS TOMORROW
of Montreal line up is the same as it has been fort he past year or so, though the band there days is scattered across the globe. But nevetheless..a tour is planned for spring 2007.

Bitte schickt mir die Belegexemplare zu. Vielen Dank!
www.ofmontreal.net www.polyvinylrecords.com www.cargo-records.de
Bei Fragen stehe ich Euch gerne zur Verfügung:
MELODYCAT, Denise Mayer, Schieferstr. 16, 65388 Bärstadt, 0174/1774147, denise@melodycat.de, www.melodycat.de

Destroyer

Tuesday, October 31st, 2006

DESTROYER
Destroyer´s Rubies
VÖ: 26.01.2007
Label: Acuarela
Vertrieb: Hausmusik

Poetically and musically speaking, Daniel Bejar (Vancouver) is regarded as one of the most intelligent and resourceful composers of our time, both with his contributions to the acclaimed New Pornographers and with his more personal project, Destroyer, where he gives free reign to his own ruling passions by means of literary and lyrically styled pop music. After Acuarela´s domestic release of Your Blues two years ago, the new album, Destroyer´s Rubies, is presented exclusively to Europe with a bonus track not included in the American label´s edition (Merge).
After five records of somewhat lo-fi gentle folk-rock with an inclination towards exquisite expression and instrumental austerity, Your Blues juggled maturity with the contemporary and the unorthodox resulting in something much more effective than the simple summing up of these components: belles-lettres and choruses, sixties and seventies, poems, cynical remarks and jottings giving life to a diary with both lyrical and musical merit. It was stoked up with a “pop” spirit somewhere between Hefner, The Blue Nile, a MIDI-synthesizer symphony, post-punk and Prefab Sprout.
End of 2006 finally sees the Euro release of of Vancouver´s Dan Bejar with his seventh full-length under the moniker Destroyer. If there has been any precedent set or pattern developed over the years in the Destroyer canon, it´s that Bejar holds little regard for convention or expectations. Never one to rest on laurels, each successive Destroyer release always explores new sonic territories and ideas. We love Dan for that, always keeping you and us on our toes. The new album is titled Destroyer´s Rubies and the opening track, “Rubies”, sets the tone well. It´s 9 and 1/2 minutes long, a sprawling epic that opens with the phrase: “Cast myself towards infinity, trust me, I had my reason”. The perfect summation of the Destroyer aesthetics.
Destroyer´s Rubies is a collection of shrewd pop music that takes no prisoners and asks no pardons. Equal parts cynicism, disdain, hope and humor. Self-referential, self-mocking, sagacious and coy. There is mythology, there is history, there is heartbreak and there is triumph. Follow along as Bejar leaves his breadcrumb trails twisting through the crumbling forests and bleak landscapes of modern popular music. It´s all heady and ecstatic. Trust him, he has his reasons. Bejar´s Dylanesque flare for biting and sardonic wit and his nods to the glam and bombastic folk approaches of early Tyrannosaurus Rex and Bowie recordings have clearly distanced Destroyer from the more straightforward pop of his “other” band, The New Pornographers. Bejar himself claims that influences on Destroyer´s Rubies come from the works of Kevin Coyne, Kevin Ã…yers, Kevin Rowlands, Kevin Junior”¦ pretty much anyone named Kevin.
Over the more than 10 years that Dan Bejar has been performing and recording there have been numerous lineup changes and shifts within “the band”. This ever-evolving shuffle of musicians has led some to consider Destroyer as a solo project, but Dan has always insisted that he sees Destroyer as a band, with full contributions from his collaborators. Even When Dan decided to take Your Blues on the road for the most extensive touring of Destroyer´s career, he recruited Victoria BC spazz-rockers Frog Eyes as his backing band, rebuilding the songs from scratch for the live performance. The stunning results were chronicled on the Notorious Lightning And Other Works EP (2005).
All that is about to change though as Bejar assures us that the current line-up of Destroyer will become the definitive and permanent line up for the band: Nicholas Bragg (guitar); Tim Loewen (bass, guitar, harmonica); Ted Bois (keyboards); Scott Morgan (drums, baritone sax): and Fisher Rose (vibes, trumpet).An amalgam of the aforementioned makes Destroyer´s Rubies a consistently vibrant record, a well crafted, composed and performed synopsis of pop (observed from all angles). It is without doubt outstanding to the core.
Bitte schickt mir die Belegexemplare zu. Vielen Dank!
http://www.myspace.com/destroyer
www.hausmusik.de
www.acuareladiscos.com

Bei Fragen stehe ich Euch gerne zur Verfügung:
Melodycat, Denise Mayer, Schieferstr. 16, 65388 Bärstadt ,0174/1774147, denise@melodycat.de

Apse

Tuesday, October 31st, 2006

APSE
Spirit
VÖ: 19.01.2007
Label: Acuarela
Vertrieb: Hausmusik

After releasing a EP of 6 songs on Acuarela the past year, this quintet – with residence between Boston and New York- returns with a work that seems to have been recorded with a knife between the teeth. Direct, intense, tribal, cathartic and even hallucinogen, “Spirit” strikes with the force of a band which handles masterly the ingredients of the most unorthodox post-rock, late post-punk and, of course, psychedelia in ten songs which do not leave any doubts: this is one of the debuts of 2006.
APSE consist of five lads from the East Coast who have been playing together ““with slight changes in line-up- during the last 7 years, creating one of the most serious and inspired sounds today: the nerve of slowcore, bits of post-rock dynamics and avant-garde perceptions; beauty, darkness and tension. They showcase a solid, potent and mature musical sense with influences spanning Classical compositions, Slint, Joy Division/New Order, and The Cure”“ to the first Sonic Youth noise adventures, ambient music and a wide range of post-punk. In 2005 they released “S/T” (or “Apse”, as some people call it), an EP/mini-album, 34 minutes in length. It more then demonstrated their brilliance: Sonic whirlwinds that begin with a spasm, accelerate to the rhythm of nervous drums trotting around an arpeggio, tie themselves round high-pitched guitars, spin round golden melodies and agonise after a final sound explosion. That´s what “Leer”, the first song on the release was like. And although this formula was not repeated in the remaining five songs we can say it exemplified Apse´s nonconformist approach to composing music. On the upcoming release of Spirit, Apse have opted-out of everything we thought we knew about what to do in writing independent rock music in 2006. Where the “S/T” Ep was often associated with genre-anchoring terms and identifiers such as ‘post-rock’ or ‘ambient’, we find the band charting entirely fresh musical territory. They have shed the ‘post-rock’ catchall, and have created something that leaves those who have seen their live performances in a state of warm catharsis, astonished and bewildered all at once. Upon listening to the record, none of the band’s influences are immediately clear. Spirit absorbs the listener in rough, bold percussion and dark, churning basslines, arguably referencing The Liars’ 2006 Drum’s Not Dead or the locking cyclical rhythm of early Echo And The Bunnymen. Over a hard-hitting bass-and-drum core, ethereal guitars, haunting vocals, and quiet synths nod to the Cure’s Pornography, Disintegration, or B-Sides from Radiohead’s Kid A. Spirit leads the listener through it’s multi-percussional swamplands, plodding bass riffs, and alien melodies – both bittersweet and empowering. It is chock full of post-punk’s disjointed rhythms, rough guitar passages and tribal stomp. Layers of tone and hand percussion top it all off, creating a beautifully produced record that a damaged pop odyssey as much as it is a breathtaking wall-of-sound. Spirit is one of the most astounding and unique records of this year.
Bitte schickt mir die Belegexemplare zu. Vielen Dank!
www.apsemusic.com
www.hausmusik.de
www.acuareladiscos.com

Bei Fragen stehe ich Euch gerne zur Verfügung:
Melodycat, Denise Mayer, Schieferstr. 16, 65388 Bärstadt ,0174/1774147, denise@melodycat.de