kyle

kyle


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Posts by kyle

Port St. Willow

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Port St. Willow is a melancholy, slow-burning, indie band currently based in Brooklyn, NY and the name Nick Principe assigned to his musical ventures. He released his debut full length Holiday, and it is fantastic. A lesson in musical impressionism, Holiday is born out of atmospheric comings and goings. A musical tide that at certain moments brings a wave of falsetto driven, multi-layered crescendos and at other times a textural dissipation of soft fuzz and subtle guitar plucks. Two stand out tracks, “Consumed” and “North” are perfect entry points into Holiday as a whole. They are saturated songs building slowly off muted coos and finishing in dense horns and pulsating percussion, walking a thin line between a parade piece and a funeral march. The ambiguity fits well for an album that drives on with immediacy but is unpretentiously singing to itself.

Port St. Willow – “Consumed”

Port St. Willow – “North”

 

Holiday is out now and was self-released, support the cause and buy it here.

 

Dia de la Musica

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On the eve of the Dia de la Musica music festival here in Madrid, I thought I’d take the time to highlight the bands that I look forward to seeing. With the likes of St. Vincent, Twin Shadow, Bear in Heaven, and James Blake all slotted on the same day, it’s shaping up to be quite a full day of wonderful music in sunny Spain. So lets get started…

The first time slot on my personal schedule goes to Zambri; two sisters putting out swerving, catchy, gothic, electro-pop. Their new album House of Baasa just came out and it hits hard, like two pissed off sisters trashing your front yard at night with dead, wilting flowers.

Zambri – “To Keep Back”

 

After them comes a certain lovely lady that should (hopefully) need no introduction: St. Vincent. Annie Clark has been touring her new album Strange Mercy for about half a year now, and it’s a treat to see live. Her swagger is undeniable and finely-tuned. Girls want to be her, both sexes want to date her; it is going to be a wonderful set.

St. Vincent – “Cruel”

 

Following St. Vincent will be Twin Shadow, the name George Lewis Jr. attaches to his slinky, soul-infused, 80′s electro-jams. He is prepping for the release of his new album Confess, and I must confess, I am excited to hear it. He said it “is the natural next step” from his wonderful previous album Forget, and the direction the single “Five Seconds” takes, is a path I will follow willingly.

Twin Shadow – “Five Seconds”

 

Continuing on with the day will be a set from Brooklyn electro-rockers Bear in Heaven. They just released a wonderful new album, I Love You, It’s Cool and I look forward to hearing how they will translate the layered, ethereal synths into a live show. Imagining it now, bears rummaging and running around heaven may just be the perfect name for these guys.

Bear in Heaven – “The Reflection of You”

 

And finishing the night will be a set from James Blake, the London based crooner and electronic producer. He has been gaining popularity for the past couple of years, seeing his self-titled album climb several charts around the world. He will be a fitting end to what surely is going to be a wonderful day of music in the Spanish capital.

James Blake – “Wilhems Scream (Live)”

 

 

Niki & The Dove – “Last Night”

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Niki & The Dove, the criminally catchy indie pair from Stockholm, Sweden, have been my go-to band for a couple months now. I just can’t seem to get their recent album Instinct out of my head, and the stand out track “Last Night” is fully to blame. As a whole, Instinct is perfectly intact. It rises and falls, speeds up and slows down. Therefore, “Last Night” is a perfect jumping off point for anyone to get into their music. The track starts slow, building off the perfectly timed stressed moments of singer Malin Dahlström’s subdued vocals. The beat bangs along, keeping both a slow pace and maintaing that your head keeps rising and falling. And then the song takes off in the chorus, where the rhythm and Malin’s vocals head for the sky, taking the listener to a place that only fleeting moments can take you. Malin croons with a certain swagger “Last night, we got married in a taxi … I loved you like there’s no tomorrow.” “Last Night” perfectly captures a night living solely in the moment, providing lyrics for the feelings that can be expressed and then towards the end of the song a muffled, indistinct, funky jazz break down for those certain moments that cannot be put into words.

Instinct is out now in the UK and comes stateside in August on Sub Pop. Get it!

s / s / s

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Sufjan Stevens, Son Lux, and Serengeti have teamed up to form s / s / s – an electronic, slow-rap spitting, sonic jam, indie group. On the first track from their upcoming Beak & Claw EP one can easily hear each artist’s contribution: Sufjan drops some auto-tuned hooks while Serengeti delivers the slow, off-kilter rhymes. And Son Lux fans will recognize the slow-building, arena sized beat that mounts and escalates until it has no other option than to dissolve into his repeated words: “I am recoloring”. The track is a big contradiction; the rhymes are dark and seep through the beat, while the hooks and choruses are high pitched and they ride on top of it. But you can tell that it all works together, as your head nods and your eyebrows furrow into a confused look: “I think I kinda like this.”

s / s / s – “Museum Day”

Beak & Claw is out 3/20 on Anticon and it will also feature My Brightest Diamond’s Shara Worden and Themselves rapper Doseone.

CANT

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This post has a certain duality to it that I feel I should address from the beginning. Yes I want to write about CANT, the smooth, electronic, kinda funky-jazzy side project of Chris Taylor, the bassist/producer/vocalist/blonde dude from the band Grizzly Bear. But in addition, I need to write about a special night I spent with the band, eating Spanish tapas and drinking fantastic riojas for super cheap, enjoying the company of a humble, talented human being. So let’s begin…

November was one of those months that the musical gods favored here in Madrid. In one month The Antlers, Washed Out and CANT, Neon Indian, Wye Oak, Clams Casino, Fleet Foxes and Vetiver, and finally St. Vincent and Girls all made their way through Madrid (and then in the first week of December: Toro y Moi, Battles, and Real Estate decided to come too). So obviously I was a little swamped with all the good music made available to me. But with such a great line up (I mean St. Vincent AND Girls?) in front of me, the standout show was a surprise. CANT killed it, hands down, absolutely killed it.

They had a small opening set for Washed Out and began their set to a crowd of around twenty people (Spaniards being punctual? HA!). They were alloted a small time and got right to it. Chris brought along Dev Haynes from the previously highlighted band Blood Orange to play guitar and and also had a drummer and keyboardist with him to add new depth to his mostly electronic, synthetic sound. The set was one of the tightest, most in-synch sets I’ve ever seen, and to come from a backing band that seemed to be thrown together before the tour was absolutely amazing. They were all on point and had everyone that was smart enough to come to the show on time fully entranced. Washed Out came on afterward and sadly were pathetic. In comparison they looked like rookies, with lead singer Ernest Greene pleading for the crowd to pick their spirits up and join the pop-heavy high school dance party he was trying to curate, “C’mon now everybody!!!”

After the set finished I was inspired by the state of euphoria I was in after witnessing such wonderful live music to go say thanks as the band cleared the stage. I thanked Chris and he humbly thanked me back, then I proceeded to ask him if the band had any plans for the night, and if not that I would be honored to show him around Madrid. He said they’d love to and after the show he came up and found me and from there we went.

A couple bottles of ridiculously good red wine (it was real nice to have my sommelier cousin visiting me at the time), a few rounds of tapas, and some late night churros con chocolate entertained for most the night and after that we escorted them back to their hotel. Needless to say it was a fantastic night.

But the music!! Enough bragging Kyle! CANT’s debut album Dreams Come True is an odyssey into a polyrhythmic trance of slow hip-hop drums, reverbed guitars, smooth poignant pianos, and Chris’ well-oiled and well-tuned voice. The songs are at times beautiful and haunting, raging and docile, multi-layered and straight forward. They will lull you into a stupor before building into a wallowing fury (see: “She Found A Way Out”) or build and build until you find yourself head-bobbing to smooth 80′s electro-funk singing “Each time you said you loved me, each time you said you cared/ Just love me, love me like you said.” (see: “The Edge”) The production stands out as well, with slinky synths and sonic base notes all perfectly placed by the man himself (he has also produced albums for Twin Shadow, Blood Orange, and Class Actress). Dreams Come True doesn’t lie, there is truth to be found in all ten tracks. Enjoy a taste below.

CANT – “She Found A Way Out”

CANT – “The Edge”

 

And the video for “Too Late, Too Far” is a fun little nightmare too!

 

Phantogram – “Don’t Move”

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This new track from Phantogram is not simply what I am sure is the best news of the day for Friends From Far fellow contributor Jeremy, but rather, a definitive statement from the band of where they are headed on their upcoming release Nightlife. The song builds off of elements found all over their debut Eyelid Movies, but has a lighter, more pop driven tempo. This is in direct contrast with the darker, heavier trip-hop influences that sometimes choked out the songs on the debut (don’t get me wrong though, Eyelid Movies is a great album). The song channels what the band did with tracks like “As Far As I Can See” and “Mouthful of Diamonds” and distills out some of the density that tracks like “Running from the Cops” and “When I’m Small” offers to Eyelid Movies. Sara Barthel’s voice can shine as she rides on top of, rather than smothered under, the flowing synth, twinges of horns, and the sampled “ohh”s and “ahhh”s. Feel free to stream “Don’t Move” below; but please, do the opposite.

Phantogram – “Don’t Move”

 

Lana Del Rey

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Coy, teasing, coquettish, flirtatious, provocative, seductive, inviting, just plain old-school Beverly Hills dive bar open mike night sexy? Yes, yes, and YES. This is Lana del Rey, and she sings beautiful songs. You will be hearing a lot more from her in the future so I’ll keep this post brief, and let the music speak for itself. She writes all her own music, and makes her own spliced up Youtube videos. She is not new to the music business having released a full length already, albeit with misguided leadership. She has bounced back and is looking to move on in the direction that “Video Games” and “Blue Jeans” is clearly headed, which is straight to the gut-wrenching depths of love and despair in the dark cavernous labyrinth of your heart. Lend her your ears as well, because she is ready to make love to them.

Lana Del Ray – “Video Games”

Lana Del Ray – “Blue Jeans”

“Video Games” and its B-side “Blue Jeans” will be released as a single October 9 digitally and a day later on limited edition 7″ via Stranger. She is currently working on recording a full length due early next year.

Wild Beasts

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In what has been (for me) a quiet July of new releases, the end of the month brought me something to latch on to and it came from a band that has continued to climb into the category of “my favorite bands” in the past couple years. Wild Beasts released Smother back in May during a period that saw new albums from a lot of good bands (Dale Earnhardt Jr. Jr., Cults, Death Cab, Hooray For Earth, Bon Iver, Man Man, My Morning Jacket, The Antlers, and Son Lux) all come out in a month or so span. So suffice to say, I was overwhelmed with new music.

But Smother shined right through the rest of them (it failed to be….smothered? ahah, jokesss). Smother sees Wild Beasts take a huge step forward in a subtle way. They have refined their sound and continued the progression that their last album, Two Dancers, achieved. Lead singer Hayden Thorpe has matured his vocals into the perfect balance of intensity and grace. He leads the listener gently up and up in his falsetto until his voice breaks and we slide the slippery-slope back into his baritone. Like a sweet reduction in the kitchen, Smother is the boiled down progression of a band that has brilliantly come into their own.

Speaking to NPR about his favorite song off the album, “Loop the Loop” (streaming below), Thorpe describes it as a “crystallization” of what they have “been trying to write for ten years.” He continues, “And there’s lots of ghost notes — by ghost notes I mean almost imaginary parts. Sometimes when you’re recording a song it just hangs together in an effortless way.” “Loop the Loop” is three dimensional in the way only really well crafted songs can be, and it stands as a perfect indicator of the quality of Smother.

 Wild Beasts – “Loop the Loop”

 

Just recently they released the second single off of Smother, ”Bed of Nails” (also a beautiful song) that came with an unreleased B-side titled: “Catherine Wheel”. “Catherine Wheel” was an exciting new track for me because it took a slight step into the past. It’s dark and carnal in a way that wasn’t fully developed on Smother but is a part of how I fell in love with the band in the past. Thorpe’s voice embraces the seductive, sensual, erotic vibe it once exuded and the lyrics match the subject matter that their first album Limbo, Panto was full of (see songs “His Grinning Skull” or “She Purred While I Grrred”).

“Catherine Wheel” is streaming below and Smother is out now on Domino Records. Wild Beasts are touring this fall so catch them if you can, you won’t be disappointed.

 Wild Beasts – “Catherine Wheel”

Future Islands

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Future Islands, the criminally overlooked and under-appreciated trio from Baltimore/Greenville has been a band that has haunted me for awhile now. Statistically they would be my favorite band, having the most plays on my itunes for their song “Little Dreamer (Jones Remix)” featuring the lovely Victoria Legrand from Beach House (streaming below). But only half of their album Wave Like Home passed the test to make it on my ipod and I can say for sure they aren’t my favorite band. And somehow I missed 2010′s In Evening Air altogether. But how has a band made a song that I so fully subsumed and then not have anything else that sparks any intense interest in me?  I have traced the problem to an all too familiar source, in falling so deeply for one song, the rest of their music became peripheral. But finally the time has come to change all of that. Future Islands has grown tired of sitting in my itunes library having only half of their songs check-marked and having “Little Dreamer” stealing the show, they have bestowed “Before the Bridge”.

“Before the Bridge” is the A side to a limited edition 7″ they will be releasing on 7/19. The B side is titled “Find Love”, and the two singles are an attempt to explore “the flip sides of love.”  While not an easy task, after listening to “Before the Bridge” one could assume they may have succeeded in their attempt. Samuel T. Herring’s vocals immediately stand out; refined and polished, but also crude and coarse. His voice alone is an answer to the flip sides of love enigma. “Before the Bridge” is beautiful from its genesis, but a deeper inquiry fully develops it as a song to be remembered. The dreamy start quickly snaps into the backbone rhythm. His poetic songwriting beats with the heartbeat of the song and as the pulse picks up in the chorus so does the validity and the thrust of his words, “And if things hadn’t changed/ I would have buried you deep in my heart/ And if things had stayed the same/ I would have carried you as far as the sky”. And as the chorus exhales back into the flow of the song the most poignant and pointed answer to the problem of love that the song grapples with is laid before us, “And what is love is regret/ And what isn’t love is a test”.

With such an important song one can only hope that if a music video is made, it lives up to the song it is built around. But how does one make a video that explains the flip sides of love? Director Abe Sanders answered that question brilliantly. He directed a clip that embodies all the dualities of love. By shooting the main subject in a very impersonal, detached way, he succeeds in presenting the sense that we are watching in first-person the dreams of the singer; dreams that most likely are grounded in memories. This plays wonderfully well off the use of the past in the lyrics (“if things hadn’t changed” “if things had stayed the same”). The video is ambiguous, as love often is. It’s dark and light, sharp and soft, ethereal in part but then dense and extremely earthy.  It’s harshly permanent in the way certain memories can be, but as ephemeral and fleeting; just as the sun setting towards the end while the question is asked “do you believe in love?”  The last image, as the song regresses back to the dreamy sounds of the opening and the listener recognizes the subtle shift from past to present in the lyrics “Whatever has us now/ I can’t forget somehow/ For to forget a love is to regret”, is a book opening to the first page. The song, the video, the lyrics, and love have all come full circle – the story is waiting to be written.

Future Islands – “Little Dreamer (Jones Remix)” ft. Victoria Legrand

Future Islands – “Before the Bridge”

The War on Drugs

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Ex-Kurt Vile membered Philly based Americana rockers The War on Drugs are set to release their second proper album Slave Ambient on August 16th on Secretly Canadian. The band gave listeners a taste of what is coming last year on the sprawling and adventurous  Future Weather EP (album art above) and the shimmering “Coming Through” was the undeniable standout.

The directions for enjoying this beauty are fairly easy: push play on the player below. Then, turn the song up to a reasonably loud volume (and for goodness sake get some good speakers, your laptop speakers do music no justice). Find a nice spot on your floor to lay sprawled out on your back. Make sure your windows are open, the breezy vocals require breezy accompaniment. Close your eyes. Yes, yes your head is nodding; and yes those are your fears floating away, your anxieties too. That yellowish, orange cloud floating in the dark vastness of the backside of your eyelids is all that is left – it is her (or him) floating gently the rhythms of this song. It is you and the one (the one that may have gotten away, may have let you get away, may be with you now in reality, or may have yet to come) chasing white highway lines on a Midwestern summer’s night drive, or any other romantic tryst you can invent in the expansive potential our imaginations hold. Let Adam Granduciel’s croon sink in, “From the darkest point of the night, I want you. To be here like before, comin’ though.” Just give up by giving in, summer is upon us.

The War on Drugs – “Coming Through”

The War on Drugs Official Page , Myspace, or Facebook

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