Sharon Van Etten

"Give Out"
from the album Tramp
2012
iTunes



BY DAVID RUIZ | Jonk Music

Sharon Van Etten took around a calendar year to record Tramp. The broken up recording process took place while Van Etten was virtually homeless in between touring stops. The studio — a converted garage in Brooklyn owned by The National's Aaron Dresser, who also produced this album — became a home-away-from-home for Van Etten. As she couch-hopped around New York, Van Etten wrote songs that were influenced by her temporary homes. Tramp comes out of this bohemian period, and bears the marks of Van Etten's itinerant lifestyle. The songs are raw, but showcase an expanded sound and openness that Van Etten has been building up since her debut.

Van Etten's lyrics bounce between ethereal and almost violently raw, but her delivery is consistently excellent. Dresser uses back-up singers and effects to fill-out Van Etten's wails to great effect, but she never seems to be occupying too much compositional space; Dresser inserts delicate webs of acoustic piano or slide guitar which form a spaced out call and response that is echoed by Van Etten's own tendency to answer her own questions: in "Give Out," she sings "You're the reason I came to the city / You'll be the reason I need to leave."

Van Etten's sound has blown up under the watchful eye of Dresser, who balances the rough cogs in the album. The careful mixture of meaty drums, loping guitars, and Van Etten's pained voice is kept from boiling over in the rollicking "Serpents". The song's rock and roll energy is driven by a terrifying depiction of stasis and change within an abusive relationship; Van Etten sings: "Close my black eyes, feel safe at times... You enjoy sucking on dreams / So I will fall asleep / With someone other than you." The album's depiction of relational trauma differs from her previous work; in Tramp, Van Etten has taken a step back from the intimacy of the situation, and this re-contextualization lets her approach her confessional lyrics from a variety of different angles. The vengeful "Serpents" is followed by "Kevin's," which sighs out a languid, cryptic depiction of the space and communication after a breakup. Sharon Van Etten (like collaborator Zach Condon from Beirut ) suffers from social anxiety, and all of her works bear a certain mark of her anxieties; however, living inside her music for the 47-minute length of Tramp is pure delight.

Lost Lander

"Cold Feet" MP3
from the album DRRT
2012
iTunes



BY REBECCA EDWARDS | Jonk Music

Though a project so newborn it could be in a maternity ward, Oregon-based Lost Lander delivers their first album DRRT with the experience and sureness of a veteran collaboration. In all seriousness, these guys are awesome. DDRT is the baby of producer Brent Knopf and Matt Sheely, both musicians in their own right before joining up with Sarah Fennell on keys and vocals, Dave Lowensohn on bass and vocals, and Patrick Hughes on drums. The result is a compilation of the electric pulsing rhythms and poetic lyrics that will surely soon be known as the distinct sound of Lost Lander.

"Cold Feet," the track set to be released as the next single for the group, was an expert choice. Rarely do the instrumentals of a song fit so well with the lyrics — indeed they fit so seamlessly together it is seems unclear which came first, the lyrics or the notes. The driving nature of the beat is consistent with the repetitive lyrics "Too much information / I gotta turn it off..." that instill a kind of frantic feeling as the song goes on. Frantic, however, does not mean unpleasant, and as the song moves from verse to chorus it draws you in and becomes impossible to turn off. (Perhaps literally, as I've had the song on repeat for days.)

The album is split pretty evenly between softer, lulling tracks (such as "Afraid of Summer" and my personal favorite, "Gossamer") and ones that have a far more edgy, heavy feel. Songs such as "Dig (How It Feels to Lay in the Soft Light)" are intense and driving — the rhythms of "Dig" give off the feeling of indulging in something forbidden. One listen is something akin to sneaking out of your parents' house to do dirty things with the kid they don't approve of.

DDRT takes inspiration from Knopf and Sheely's Pacific Northwest surroundings and effectively turns it into music that is both enjoyable and substantive. Every note, chord change, and lyric serves a purpose, cultimating in an album that is intensely personal and damn near mesmerizing.

Miike Snow

"Black Tin Box" feat. Lykke Li
from the album Happy to You
2012
iTunes



BY CHRIS KRAEMER | Jonk Music

What could possibly add to the excitement of Miike Snow's impending second studio album? Collaborations with other well-known and adored artists might do the trick.

On the third track offered through the group's website, the trio is joined by Swedish star Lykke Li. With two-thirds of Miike Snow also hailing from Sweden, their connection is no mystery. The guest appearance fits the song nicely, as the unique and dark atmosphere Lykke Li brings to the pop world accompanies her onto the eerie "Black Tin Box." Her vocals arrive near the center of the track, and their presence is enough to allow the lone moment where the percussion is lifted. Albeit not for long, as the distant pounding returns to drive the song further into a thick, dreamlike fog.

The opening cymbal establishes the haunting mood quickly, and the five and half minute song never strays from it. There are times when an upbeat, house-inspired sound attempts to rise from the shadows of the “Black Tin Box,” but the enduring tone prevails, leaving the listener happy in outer space.

Based in their native Stockholm, Miike Snow and Lykke Li have formed their own record label along with fellow Swedes Peter Bjorn and John. As the country's music scene enjoys continued success and begins to pool together, we can only hope for more collaboration from these members of INGRID records. Maybe even another as soon as late March, when Miike Snow's Happy to You LP crosses the Atlantic to hit U.S. markets. One thing is certain, no additional leaked tracks are needed to generate hype for the super-producers’ sophomoric release.

Young Magic

"Night in the Ocean"
from the album Melt
2012
iTunes



BY ISABEL REIDY | Jonk Music

Melt is the latest offering from opium-soaked dream-soul dynamos Young Magic. The 11-track album is as rhythmically driven as it is hypnotic, melding hip hop influenced beats seamlessly with sweeping, mystical atmosphere.

Fronted by Australian-born Isaac Emmanuel, Young Magic is the newest addition to Carpark Records. Now living in New York, Emmanuel takes a ballsier approach to dream pop than label mates Beach House. Layered, spacey vocals are paired with unrelenting rhythm to produce a sound that is both ethereal and driving. The slow groove on "Night in the Ocean" lends itself not only to the overall reverb ritual feel of the album, but also to the rap break on the track, a difficult balance to achieve (A side note: If you like The Pillow Book and wiggly geometric shapes, be sure to check out the video for "Night in the Ocean"—it's really beautiful.)

Melt owes its success to its drums, which weave each track together while remaining versatile and fresh. The beats on this album command a sort of sleepy, lilting power, evocative of desert cults and space age jungle blood rites. There is something eerie and compelling about Young Magic fans of ritual sacrifice and hard drugs are sure to enjoy.

Hospitality

"Friends of Friends" MP3
from the album Hospitality
2012
iTunes



BY ERICA MATLIN | Jonk Music

Before I begin, I must admit that I'm a little biased towards Hospitality. First off, they are from Brooklyn, and as a New York native, I appreciate that their music captures the cool vibe of the city as opposed to the up tight/obnoxious view that has been made famous by the likes of Woody Allen. Secondly, their video features Alia Shawkat of Arrested Development which happens to be, quite possibly, the greatest TV show of all time.

But back to the music, "Friends of Friends" is a multi-instrumental, vocally rich song that gives off a silly vibe. By silly, I don't mean ridiculous by any means, but the type of fun you and that tight-knit group of childhood friends comes across on a Saturday afternoon. Hospitality, made up of Amber Papini, Nathan Michel, and Brian Betancourt, separates itself from the other indie pop bands of our time because of their whimsical sound and the sense of youth their music offers. Sure, it is poetic in that their lyrics paint a vivid picture for its listeners, "Got a cheap dress on, with a wrinkled sleeve," but their descriptive words are purely for amusement and universal understanding. These eclectic artists are not trying to exude some greater, life shattering meaning: They are using their talent to kick back and have a good time, so that we can too.

What is even more enticing with this particular track is that just when you think the song is over and you imagine the lights dimming in the bar for last call, they pick back up again with their catchy chorus. With Hospitality, the party never ends, so enjoy it with your friends, new and old.

Father John Misty

WEEKEND VIDEO

Father John Misty "Hollywood Forever Cemetery Sings" MP3 Fear Fun 2012 Release date May 1, 2012

White Rabbits

"Temporary" MP3
from the album
2012
iTunes



BY CHRIS KRAEMER | Jonk Music

The second track released prior to Milk Famous hitting shelves and online shopping carts, "Temporary" is yet another example of White Rabbits' progression. While long-time Spoon producer Mike McCarthy remains attached for the majority of the band's third album, the minimalist feel he brings is starting to transform.

Consistent with "Heavy Metal," the first single released from Milk Famous, "Temporary" contains a new found joy for layering beats and guitar distortion — something that was nearly absent from the strong and powerful singles of the popular It's Frightening in 2009. This mature sound does not eliminate the chance for another chart success like "Percussion Gun," but does ensure a more uniform feel on a more complete album.

Rhythmic drums, characteristic of a White Rabbits track, are ever present on"Temporary." It is the sparse sprinkling of electronic sound that brings the new dimension. Perhaps this Brooklyn band from the Midwest has mixed the perfect blend; capable of enthralling both fans of their college rock roots, as well as the indie culture of their new East Coast home. Look for Milk Famous to be the band's most grown up LP to date.

Chairlift

"I Belong in Your Arms" MP3
from the album Something
2012
iTunes



BY DAVID RUIZ | Jonk Music

Chairlift is leaner and more directed than the 2008 iteration that released Does You Inspire You. Without founding member Aaron Pfenning, Caroline Polachek and Patrick Wimberly are able to establish a new chemistry between them that has helped define their sound. Their semi-nostalgic aesthetic is mined from the uncool depths of '80s pop and Bush-era R&B. The retro attitude permeates from just about everywhere, but dedicated touches like the spoken echo in "Amanaemonesia" fill out their anachronistic vibes.

Something is clearly the product of a few conflicting forces. The song "Amanaemonesia" represents the more schizophrenic and cluttered side of Chairlift's sound. Polachek has taken to wearing a nylon catsuit in concert when inhabiting the manic character incorporated by the more worked up elements from Something. On the other end of the spectrum is "I Belong in Your Arms" — it is an unabashed love song inspired by the band's current relationships (not with each other) and the simple comfort of intimacy.

The ability to incorporate backwards-facing sonic qualities with Polachek's honest lyrics take their sound from gilded retro pop to emotionally deft expressions. The lyrics are simple and strong, Polachek set out trying to craft songs that a "10-year-old” would find captivating. That simple directive helps the band navigate the naked sentimentality in "I Belong in Your Arms," without becoming saccharine. The track's instrumental elements maintain the band's retro aesthetic, but more varied influences poke through as well: echoes of Björk float in through the ether as the track gently dissolves.

Wild Nothing

"Nowhere" MP3
from the single Nowhere
2012
iTunes



BY ADAM PAGE | Jonk Music

Nearly two years after the release of the synth-drenched, New-Order-on-Quaaludes Gemini, Wild Nothing figurehead Jack Tatum follows up his excellent debut LP with "Nowhere," a new single that signals a possible stylistic shift for the Virginia mope-meister. Don't worry, the canny dream-pop songcraft is still in evidence and Tatum still sounds appealingly half-asleep. This time around, however, he's decided to shelve the synthesizers and opts instead for an earthier, warmer accompaniment verging on the down-home.

But too much discussion of Tatum's seeming instrumental change of heart belies the fact that this is probably the best Wild Nothing track ever released. There's a new confidence here in both songwriting and execution. The vocals, now less drenched in echo, are more direct and of a deeper timbre. That new approach combined with the spare, halting verses and lush, breezy refrains strongly recall '80s geniuses The Go-Betweens. Notice the slide guitar swipes and the way the (what sounds like a) harmonium frames each line of the verses with a lingering two-chord phrase. It makes you suspect Tatum's been spinning Liberty Belle and the Black Diamond Express on repeat for the last 18 months. It's all so dry and straight-forward that when echo-washed guest vocalist Andrea Estella (Twin Sister) swoops in like a ghostly apparition it makes for a jarring, though welcome, contrast.

"Nowhere," backed with "Wait," will be available for download and on vinyl 7" February 21, via Captured Tracks.

The Big Pink

"Give It Up" MP3
from the album Future This
2012
iTunes



BY MAX SIMON | Jonk Music

Robbie Furze and Milo Cordell combine their multi-instrumental talent to make up a very animated electro-rock duo from London. Thus far, The Big Pink has generated two albums, A Brief History of Love and Future This. Now I'm sure you've heard "Dominos," the 10th ranked track on our Best of 2009 list, which also won the Best Track at the NME Awards. It's great. But aside from the fame of the first album, Future This brings to us a different style. Hip-hop. And this hip-hop influence does all that it could to an experimental rock band – complementing the natural sounds with heavier synthesizers and therefore building on top of its intensity. In my opinion, it works out well for The Big Pink and gives them a solid direction for their future albums.

Yes, it seems that sexual innuendos fly left and right in The Big Pink's "Give It Up." Conversely, there is a surplus of untainted music in there as well. In terms of child development, the sound evolves from a supernatural fetus to a big-beat baby to an electro-infused, full-blown, pubescent teenager. So while the song begins to grow armpit hair and experiment with its body, confusion is at its peak – making for a bewildering listener experience. Don't worry; even if your mind is not as imaginative and bizarre as mine, I'm sure you will enjoy the song.

Cloud Nothings

"No Sentiment" MP3
from the album Attack on Memory
2012
iTunes



BY NICK CROW | Jonk Music

While arguably not as fun as it's predecessors, Cloud Nothing's Attack on Memory is an artistic step forward for the Cleveland collective. While their first two LPs featured catchy hits such as "Hey Cool Kid" and "Understand It All," their third release lacks a singular standout track. This may be a positive, however, as the songs seem to flow into one another more seamlessly than in previous efforts.

"No Sentiment" is a song that may not have the flash that has come to be expected from Cloud Nothings, but it doesn't mean that it isn't appealing. It is obvious that the band is evolving and that is always a step in the right direction. Attack on Memory is an album that could have easily been made in 1995. The grunge rock influences are unmistakable. The album may not grab you upon first listen, but give it a chance. Each listen unveils a different layer that wasn't previously heard.

For such a young band to have already released three albums, each with their own personality, Cloud Nothings possess the creativity to evolve again and again and will continue to do so. It is quite the accomplishment for a band to create such a variety of sounds when so many bands have maintained the same sound album after album. It is abundantly clear that Cloud Nothings doesn't have this issue.

Mixtape: Winter Beats '12

Shearwater

"You As You Were" MP3
from the album Animal Joy
2012
iTunes

Shearwater performs at the High Noon Saloon with Madison's All Tiny Creatures
Sunday, February 19, 8 PM. $14 / $12 advance.


BY CHRIS KRAEMER | Jonk Music

The image of a slow-building, yet powerful wave hitting the shore could not have been more vivid than during the first listen of "You As You Were." Although the eponymous species of seabird is most likely the source of inspiration for the band's name of Shearwater, its sound perhaps aided in conjuring the mighty mental wave. Word association or not, the third single released off the Animal Joy LP due out Valentine's Day contains a crescendo that will steadily rise up until it consumes you and sweeps you under.

Beginning with a repetitive and gorgeous piano progression, the song consistently adds instruments until the track can contain no more. The early arrival of bass may have been what grabbed me from the first listen. Its pulse-like beat keeps me waiting for each subsequent introduction of sound, only to find each layer fits seamlessly on top of the others.

Known to most as a side project of the band Okkervil River, Shearwater has generally remained more subdued than their more mainstream counterpart. In the past, Jonathan Meiburg, the only remaining crossover and no longer a part of Okkervil River, seemed to use Shearwater as an outlet for material not suitable for the livelier Okkervil sound. It seems as if "You As You Were" breaks the mold with its strong, upbeat feel. Meiburg, the de facto front man, exerts vocals that root you in your place with their beauty and flow, leaving the listener no choice but to stand and wait for the wave to crash over them. When he belts out "I am leaving the life" for the first time, the song's abrupt close is very near. How hard this most recent wave from the Austin, TX band hits is entirely up to you.

Kurt Vile

"Baby's Arms" MP3
from the album Smoke Ring for My Halo
2011
iTunes



Kurt Vile's Smoke Ring for My Halo is, for lack of a better phrase, obsession-worthy: a piece of work so lyrical and self-contained it not only fails to ever grow old, it radiates clarity and ease with such effortless intensity it can't help but come off as a whole, as a complete, well-rounded musical experience. It's also pretty rare in that respect; the last record to make the cut for me was Girls' Album back in 2009. Perhaps I just have a thing for long-haired introspective types; or perhaps both albums are classic growers, collections that seem warmer and wittier and more gorgeous with every obsessive listen.

It seems this is the record 2009's Childish Prodigy was warming up for. Prodigy was an admirable effort, but it also suffered from iffy production and an undercooked vision. To say that Smoke Ring for My Halo is cleaned up isn't quite enough — the record is remarkably spacious and loose, with bright, Dylan-esque guitar at its center. Vile and his small band keep all full and ethereal, a combination of keyboard, harp, slide guitar, and Mellotron orbiting Vile's core. From the opening lullaby, "Baby's Arms," through rambling closer "Ghost Town," Smoke Ring is buoyed by a pervasive lightness, ambling along easily, sneering, shrugging, and yearning all in equal measure. Come for the hooks, but stay for the charmingly balanced sense of tone.

Smoke Ring has that lonely-strumming-troubadour thing going for it, which might read as melancholy, but to compensate Vile touches on a lot of playful humor for tracks like "Puppet to the Man" and the absurd, bouncy "Jesus Fever." His shtick isn't so much one of self-pity as it is a smirking mash-up of singer-songwriter melodrama and rock star bravado. "On Tour" explores the former by letting lines like "I wanna write my whole life down / Burn it there to the ground" flow into winking platitudes: "Cuz that's just me / Being me, being free." Alternately, he exercises his don't-give-a-shit attitude in "Runner Ups," imploring all to "take a whiz on the world." But, when these personas drain away, Vile’' voice is that of someone on the outside looking in, of someone shrugging off emotions and throwing up psychic barriers with lines like "Sometimes I get stuck in a rut, too / It's ok, girlfriend."

Smoke Ring really comes together in its second half; the songs are slower, sparser, and deliberate. "In My Time" is perfect jangly indie pop, like those great songs Mike Mills used to write for R.E.M. ("Near Wild Heaven" anyone?) in their heyday, and "Peeping Tomboy" has a similar hypnotic quality. When only guitar backs Vile's lazy drawl, it's reminiscent of Dylan's "Buckets of Rain," but this time the protagonist is, predictably, a bit more removed: the object of his attention is simply "some girl"; instead of declaring love he mumbles, "I admired her." Closer "Ghost Town" nails down Vile’s persona in a ghostly two-chord epic, proffering a meandering philosophy of life from someone trying hard to ignore nagging, latent unhappiness. It's the perfect way to end the album. Vile assures himself in a flat voice, "Raindrops might fall on my head sometimes / I don't pay 'em any mind."

Despite the second half's minor leg up, the songs on Smoke Ring for My Halo flow together so consistently it's hard to play favorites. No filler exists here at all, nothing to skip; here a relaxed vibe belies the fact that each track has been carefully calibrated, crafted, and placed. As a result, each track seems to have a unique raison d'être, though each track is the accumulation of the same factors — the complex voice, the airy tone, the sparkling indie-pop hooks—that make Smoke Ring for My Halo so obsession-worthy.

Vile has slyly written pop that enters one's head without leaving much of a permanent mark; instead of a distraction from one's deeper woes, it's chameleonic accompaniment. It casts a spell, say, walking home in the rain at midnight. Which I know well, because it did that to me — from the opening notes of "Baby's Arms," it poured into my rain-soaked head, and I, powerless to stop it, gave in, welcoming whatever else it could happen to soundtrack, making that whatever else warmer, wittier, and more gorgeous than it was before Vile graced it with his touch.

~ Maura McAndrew, Cokemachineglow

Big Deal

"Chair" MP3
from the album Lights Out
2012
iTunes



BY ERICA MATLIN | Jonk Music

A chair is practical, simple, and yet it's understated. The same description could be said for Big Deal's approach to their debut album, Lights Out. The music is centered upon Kacey Underwood and Alice Costelloe and their guitars: one electric and one acoustic. Two singers and two guitars? Simple indeed. This indie pop duo is easing its way into the music scene with their laidback, coffee shop band approach, but the honest quality to their will make waves.

"Chair" epitomizes the realness that Big Deal captures. The ratio of music to vocals is impressively even, with the fuzzy electric chords complementing the jaggedness to both male and female voices. Lyrics like "Want to be a lover, trying not to be your friend" show how deeply personal this song, as well as the entire album, is to the artists, making them all the more praiseworthy for they are relying on pure emotions to exhibit their musical talents. The band also achieves lyrical success, taking something as simple as a chair and using it as a heartbreak metaphor, confessing themes of love that most are too afraid to admit.

The rest of Lights Out accentuates the band's talent and utilizes the rawness that makes them unique. Their innate subtleness deserves notoriety. In a music generation that is moving further away from human talent and emphasizes strong usage of electronics, Big Deal is stripping music back down to its core, in a small, yet talented way.