High Highs

"In a Dream" MP3
from the album Open Season
2013
iTunes

BY RACHEL SCHROEDER | Jonk Music

Jack Milas and Oli Chang, members of the Australian duo known as High Highs, have recently begun to gain traction in the indie music community. Two years after releasing a critically acclaimed four-song EP, they are back with their first full-length album, released on Fine Time Records in January 2013. With a muted, ambient sound reminiscent of Bon Iver, their music is at times both harmonically rich and sonically vacant. An often present sunny overtone adds interesting dimension to the somber mood encompassing many of the tracks on the album.

"In a Dream," the newest single from Open Season, features opening chords that bend and nearly reach the realm of the psychedelic. This slowly builds to well-crafted hooks made up of mellow guitar and echoing vocals. Overall, the track remains rather dynamically stagnant but as more vocal harmonies are layered on and the underlying rhythmic pattern speeds up, the song reaches a climax of sorts in the last few bars. In any case, it becomes evident that dynamic interest takes a back seat to atmospheric creation in this particular song.

The band are opening for Vampire Weekend on several U.S. tour dates in late May after visiting The Frequency in Madison in March. Hopefully with the strong, cohesive work they have recently released, we will see more of them locally in the future.

Har Mar Superstar

"Lady, You Shot Me" MP3
from the album Bye Bye 17
2013
iTunes

BY REBECCA EDWARDS | Jonk Music

I am someone who is often getting yelled at by her friends for playing the Sam Cooke Pandora station at a party. (Apparently "A Change is Gonna Come" isn't good beer pong music, though I heartily disagree.) I miss the likes of Al Green, Ben E. King, and Penny and the Quarters as if I was alive to know them personally — and if Har Mar Superstar's most recent album, Bye Bye 17, is any indication, I am not alone in the sentiment.

"Lady, You Shot Me" — wow. This is deep soul in the way that the genre originally intended: wholehearted, raw, intimate yet social. And what is particularly impressive here is though the kings of rhythm and blues undoubtedly inspire the song — Har Mar Superstar has been quoted saying he was listening to a lot of Otis and Sam when he began the album — this is more than just homage. The song is something incredibly his own. Here Har Mar Superstar not only combines vintage and modern, but "Lady, You Shot Me," brings the fun into heartbreak; you can't help but dance even as he croons about betrayal.

OK, off you go. Listen and reminisce about eras of musical greatness.

Disclosure feat. Eliza Doolittle

"You & Me"
from the album Settle
2013
iTunes



BY RYAN THOMAS | Jonk Music

UK brothers Disclosure don't seem to sleep, ever. Amidst a relentless tour schedule and preparation for their first album's release, they've managed to pump out single after single, remix after remix. With "Latch" and "White Noise" earlier this year, the duo was able to break the UK top 10 but they've yet to find comparable success in the States. The forthcoming Settle will likely change that, as Disclosure's infectious sound seems to win over anyone and everyone.

"You & Me," Disclosure's latest offering, features model/singer Eliza Doolittle on vocals. The duo's use of guest vocalists has always been one of their stronger suits and "You & Me" is a stellar example. Doolittle's vocals glide over Disclosure's effervescent electronics, creating an effect that's neither boring nor disagreeable. In fact, Disclosure's house-indebted sound could best be described as agreeable; it's exciting enough to spur on the festival masses, but still "safe" enough for clothing stores and the top 100.

Settle is out June 4 on Interscope/PMR.

Fitz and the Tantrums

"Out of My League"
from the album More Than Just a Dream
2013
iTunes



BY ERICA MATLIN | Jonk Music

Off their second studio album, More Than Just a Dream, "Out of My League" is the epitome of the "soul-infused neo-pop" sound that sets Fitz and the Tantrums apart from everyone else out there on the indie-pop spectrum.

It is very rare to find an album where each song is tied together by the same concept, but Fitz and the Tantrums has managed to do it. Then again, nothing should be surprising when it comes to Fitz and the Tantrums, since the band began in 2008 with Michael Fitzpatrick picking up a second-hand organ and finding his Mo-town inspired New Wave sound, as well as a group of artists to go with it. With the help of Noelle Scraggs beautiful vocals, bassist Joseph Karnes, Jeremy Ruzumma on keyboards, percussionist John Wicks, and an array of incredible instruments by James King, the band has developed a sound that playfully bridges together generations and genres.

"Out of My League" is a little less retro compared to tracks from their first album, Pickin' Up the Pieces, but it makes up for it with its charismatic demeanor. The multi-instrumental track is a fun piece of music that doesn't overdo the pop and manages to let the music flow effortlessly.

Popcaan

"Ravin"
from the single Ravin
2011
iTunes



BY BEN SIEGEL | Jonk Music

2011's "Ravin," the dancehall party tune from Jamaican artist Popcaan — the rakish Vybes Kartel protégé and dancehall's next big thing — is as good a song for summer as any. It's also a great introduction to Popcaan, who has since featured on tracks with Pusha T ("Blocka"), Snoop Lion ("Lighter's Up"), and Major Lazer, and is instantly distinguishable for his syrupy bark.

You don't have to listen long to understand why they call him the "Raving King." As he advises in the chorus, a party isn't a party unless you spend all your savings like it's your last party. There's a cold logic behind Popcaan's infectious warble and the self-indulgent nihilism it suggests.

Not even Jamaican music is free from the island's culture of violence: tension between Popcaan and rival dancehall artist Mavado — due to personal history and the inner-city Kingston factions they both represent — has been publicly mediated by Jamaica's prime minister, and almost (ironically) came to blows on the set of Snoop Dogg's Lion's video for "Lighter's Up," the non-violence smoking tune they both appear on.

"Ravin"'s strength lies in its resolute sincerity, helped along with by that fiercely carefree Jamaican sound that can't quite be synthesized (no matter how many tries) by a No Doubt or a Bruno Mars. Touching off the high-energy riddim (dancehall parlance for instrumental) with dramatic bursts of what sounds like a violin keyboard preset, "Ravin" captures that celebratory feeling when nothing but the moment matters.

Caveman

"Over My Head"
from the album Caveman
2013
iTunes



BY REBECCA EDWARDS | Jonk Music

The beauty of "Over My Head" is that while on one hand it is extremely futuristic in its sound, on the other hand it makes you kind of sway like there's an old Otis Redding song playing. This can probably be best attributed to a blues sounding down beat updated by a purposeful "other-worldly" quality to the music.

"Over My Head" is indicative of the other changes happening in Caveman's new album. With Caveman, the group has successfully managed to be one of those bands that can take their sound in a new direction without sacrificing any of the quality. Whereas the band fell far more conventionally into your indie rock genre, the forward-thinking ensemble has successfully combined their talent as musicians with an awareness of the up-and-coming sound of indie rock. Gone is the memory of any light acoustics — Caveman has tapped into an altogether bigger sound. If you like "Over My Head," check out "In the City" as well. It's a similar yet more upbeat sound.

Banks

"Fall Over"
from the single Fall Over
2013
iTunes



BY CLARK GAPEN | Jonk Music

Banks is an up-and-coming songstress with a striking voice and style that, according to her record label, draws inspiration from the likes of Lauryn Hill and Fiona Apple. One needs only to watch the risqué black and white music video for her newest release "Fall Over" to understand the Fiona Apple comparison — it looks like a toned down, 21st Century update of Apple's sultry "Criminal" video. But based on the first couple songs from Banks, including the wonderful "Before I Ever Met You," it seems clear she's much more than just a pretty face. Her voice is powerful and distinctive, singing about broken love and vulnerability backed by sleek, club-ready beats. Zola Jesus comes to mind when listening to Banks, only with greater emphasis on her vocal prowess and range.

"Fall Over" features a slow build that peaks about a minute and half in but sticks with the relaxed, xylophone, bass, and synth-laden lightness of the track. It's the kind of song that is just asking to be remixed every which way. The real standout, however, is Banks' voice. It soars with emotion and seems to suggest she's capable of show even more prowess of the pipes. There's no definitive word yet on when we can expect the first LP from Banks, but we will surely be watching out for it.

Majical Cloudz

"Childhood's End"
from the album Impersonator
2013
iTunes



BY DREW CURTIS | Jonk Music

I have to imagine that after a long therapy session, Majical Cloudz's singer and songwriter Devon Walsh was told to look for constructive ways to deal with issues of his past, and the duo's new album Impersonator was the result. The album takes a minimalist electronic sound, light strings and percussion, and applies deeply personal lyrics to create sweet but haunting melodies. "Childhood's End" is one of several gems on the album that combines just a few basic elements to form one of those tracks that you continue to think about long after it has finished, with each revisit peeling back another layer.

With a dreamy electronic flow and somber lyricism, "Childhood's End" is a reflective narrative recalling an end of innocence, and the confusion and struggle that come with it. Walsh recounts a violent death, the loss of a friend, and a downward spiral, all ending in childlike call for help to create an ambiguous, stream-of-consciousness style story. An intense live performance of the track at a private concert attended by seasoned critics reportedly brought at least one audience member to tears.

The group's timeless quality and clear but detached vocals are reminiscent of The National, but with a greater electronic emphasis and slightly less vocal bass. Despite (or maybe to the credit of) the group's minimalist style, Impersonator boasts original and distinct tracks, each telling their own story and instilling a new feel. After only a few prior electronic-heavy releases, Walsh and his producer have unearthed the vocals previously buried under synth and diluted the music to the point that it supplements Walsh's performance instead of the other way around.

Keep an eye out for our upcoming full album review of Impersonator, and if you're in Madison, join us in seeing Majical Cloudz live at the Majestic Theatre this Thursday.

Danny Brown

"Kush Coma"
from the album Old
2013



BY MIKE SCHUERMAN | Jonk Music

"Experiment so much it's a miracle I'm living," Danny Brown unapologetically exclaimed on his appropriately named and critically acclaimed 2011 breakthrough, XXX.

Since his explosive fame began, Brown has officially established himself as the most uncouth rapper in the game. He gladly sports a haphazardly constructed hairdo, he is missing a front tooth, and he rhymes constantly about experimenting with offbeat prescription drugs — i.e. Adderall and Xanax. While a crazed female fan recently fellated him on stage, it's unsurprising that he continued rapping as though such an incident was somehow a part of his outrageous lifestyle.

"Kush Coma" rolls, so to speak, all of Brown's extremes into a weed-induced nightmare. Its bass thumps like a racing heart of a drug-addled psycho underneath shrieking synthesizers. The track's beat is almost revelatory in the sense that it entirely legitimizes what Brown raps.

But not even the man who claims to have been "smoking blunts since high school" can escape this hellish experience. "My forehead's sweatin', my eyelids heavy, feeling like I ain't goin' make it," Brown says after smoking copious blunts filled with codeine, molly, and whatever explicit substance is within reach. Even reading the description opens one's eyes to such a horrific display.

"Kush Coma" isn't so much a bragging statement but rather an autobiographical account. Brown clearly couldn't give less of a fuck about public relations. He legitimately wants listeners to gain access to his "Kurt Cobain type of mind frame."

PHOX

"Noble Heart" MP3
from the EP Confetti
2013
iTunes

BY DAN OBERBRUNER | Special to Jonk Music

PHOX's "Noble Heart," like many of the songs on the Madison-based band's EP Confetti, finds its strength in balancing intimacy with soft, layered arrangements and momentous crescendos. The song begins with delicate piano over propulsive acoustic guitar and eventually introduces Monica Martin's powerful voice in an environment so fragile that elements such as the players shifting at their instruments are audible. By the end of the first segment of the song clean electric guitar, bass, banjo, and clarinet begin to subtly fill in any vacant space. After a short repose that allows the clarinet to briefly and eloquently come to the forefront, a second verse develops featuring drums and whispery vocal harmonies. The song culminates in a rousing full-band effort emphasizing the songs buoyant, wordless refrain.

Ultimately, "Noble Heart" manages to distill the somber, rainy-day elements of springtime with its more inspiring moments of coatless optimism into one cohesive unit. The song, as well as the Confetti EP, are available at PHOX's Bandcamp and were released jointly with a collection of videos available at the group's YouTube page (or spliced together at Vimeo). The accompanying clips range from conventional music videos to comedic interludes to documentary-style recording footage — all of which serves as a worthwhile introduction to what is shaping up to be one of Madison's most prominent musical entities.