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01. A-Punk - Vampire Weekend

FEAST YOUR EARS

 

 

02. A Heavy Abacus - The Joy Formidable

03.The Season - 

The Dodos

I'VE MOVED!!!

THE BLOG CAN NOW BE ACCESSED HERE:

http://musicthoughtsandotherthings.wordpress.com

 

 

 

 

Sallie Ford & The Sound Outside: CONCERT REVIEW

The Bartlett, Spokane, WA

December 28, 2013

 

“Never gonna change who I am just because you'll never understand / Never gonna apologize for being so intense, how the hell would that make any sense?”

  • Sallie Ford, “They Told Me”

 

Exposed brick walls, a modest stage raised only two feet above the ground, and a small crowd of maybe a few hundred people surrounded the cat eyeglasses-wearing, 1970s dress-rocking, confidence-flaunting, lead singer Sallie. The Bartlett, a brand spanking new, all-ages concert venue in Spokane, Washington, was an ideal setting to dance like it was 1955 and embrace everything about rising indie music community in the inland Northwest. The show was sold out that night, only a short week after the Bartlett had opened, showing high anticipation that led up to both the surfacing of Sallie Ford & The Sound Outside in Spokane and an alternative music hall that filled a long-awaited gap in the community.

 

Opening act And the Kids hailed all the way from Northamton, Massachusetts, a town that embodies everything that this trio isn't. In contrast to the traditional, preppy community they came from, this female trio was outfitted in sparkly face paint and a sassy attitude that made them a perfect match for Sallie Ford. The combination of these two groups on tour together made much more sense than the group from a small, neighboring Idaho town that opened up first. Their Christian lyrics and repetitive, streamlined chord progressions had little in common with And the Kids's primal screaming, dancing tunes, and vocals with hints of Karen O from Yeah Yeah Yeahs. After chatting with the keyboardist in line for the restroom later on that evening, I discovered that they were fangirls just like the rest of us. “Oh my F**KING GOD,” she said, “it's really to keep cool and pretend like we're on the same playing field as Sallie Ford.”

 

Indeed, Sallie's charisma and quirky charm are enough to make any hipster lady wish that they could live in her vintage boots for at least a day. She has the freedom and carefree attitude of rebellious youth with the self-assurance of a woman far beyond her age. Her band – an average looking guy in a beanie on the double bass, a guitarist with a bolo tie and the same haircut as Sallie, and a drummer in bold glasses - began their set with an instrumental piece off of their new EP, Summer. After that followed “Addicted” and “I Swear”, criticizing mainstream radio trends and poking fun at the confined societal expectations. The vocals in “They Told Me” were perfectly forward and childlike, just like the content of the lyrics. Between songs, Sallie reminisced about trying Fireball whiskey the first time she visited Spokane, chugged white wine, and congratulated And the Kids on their performance. Her lyrics seem to follow one of two trends: either she's helplessly overcome with desire for something or someone, or she's powerfully rebelling against the forces that try and tie her down. She dropped her baby blue electric guitar for “Lip Boy” so she could fully act in character, dancing like she was the hottest thing in the room because she was. Percussion was amazingly intense during “Against the Law”, and once the song finished, they continued to play the remainder of Summer, starting with a cover of Reckless Eric. And the Kids were invited up to stage once again to complete the call and response in “Cage”, and brought enthusiasm to “Danger”. A Blondie cover, “Heart of Glass” wrapped up the encore.

 

Sallie Ford & The Sound Outside have perfectly mastered southern-style retro music with flair that can only come from Portland, the Northwest's weirdest city.

 

Summer is only available in vinyl and digital formats, because Sallie doesn't like CD's, and she does what she wants. Listen to the full EP here:

Sallie Ford & The Sound Outside – Summer - EP

 

 

Watch "Addicted" and "Party Kids" here:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“I can't wait to see the day when all the genres melt away / So sick of being in the box, won't you unlock me?”

 

  • Sallie Ford, “Rockability”

 

Arcade Fire: Reflektor

November 4, 2013

 

Reflektor's full, well-rounded, and dynamic sound left me stuck to the couch for an hour without any movement, because from start to finish this piece of work is entertaining and interesting enough on its own to be appreciated with stillness. Three years have passed since Grammy award winning The Suburbs commented on isolation, suburban sprawl, conformity, and materialism, and now Arcade Fire is back and rife with opinions on religious mind control, existentialism, and misplaced hope in the afterlife. With its jarring questions, experiments with electro-rock, and direct attitude, Reflektor may be Arcade Fire's best work yet as it allows even more space for them to grow.

 

There's something really cool about a title track opening an album. “Reflektor” is especially effective here because it is blatantly about the inability to get into heaven, which is an image we see throughout the entire work. Less traditional instruments are used on top of the expected Arcade Fire setup, showing how this album is going to stay true to its roots but also experiment outside the box. “We Exist” starts off cooly and carefree, gains momentum in the chorus, and aches with desperation to “just let us through.” A personal favorite because of its odd percussiveness is “Flashbulb Eyes”. Chimes fade in and out, and the repetitive hit and release feels just like a sharp flash and its recovery. For the first time, we experience a showcase of the horns, which comes as a delightful surprise. The end transitions with complete flawlessness into “Here Comes the Night Time”, which ruthlessly criticizes the in/out mentality in mainstream religion, as the gates of heaven are shut to them. Their core belief becomes clear in Butler's question, “if there's no music up in heaven then what's it for?” revealing that they choose to worship the beauty and power of music instead of conforming to an institution that they see as corrupt.

 

To criticize how our conformist society makes us question ourselves, “Normal Person” darkly exposes how perceived normalcy is an impossible goal that breaks people down into emotionless, expressionless zombies. The normal ones “get excited / they try and hide it,” which brings back an appreciation of individuality seen in the past three albums as well. The influence of cultural norms are shown as a crushing force, that will “break you down” even when fought against. As the song comes to a close, it sounds like the end of a fabricated recording, which makes us question what is real and truthful.

 

“Joan of Arc” reveals a certain affirmation toward this religious figure above other ones, perhaps because she is unconventionally young and female. The repeated french lines by Regine Chassange are a perfect showcase of Aracde Fire's multidimensional mix of cultures and vocalists. This song is probably the most rock n' roll of the whole album, and could probably be accepted best by a radio audience. In contrast, the track “Here Comes the Night Time II” that follows is a frightening and beautiful reprise that involves whispers, repetition, low strings, a lack of resolutions, and moves slowly like a dream. However, it's hopeful in a weird and almost creepy kind of way, and each unresolved chord forces us to fill in the blanks ourselves.

 

If you've had one of those nightmares where you're free falling off the edge of a cliff and you jolt awake right before hitting the ground, “Awful Sound” will probably take you right back to that feeling. With a sense of urgency, carefree la la's play over a screeching that never really comes to its climax, giving us the feeling of a near-death experience. Returning to the motif of dying and the afterlife, this song sounds and feels like an ending of life, as the listener abruptly enters into unexpected silence.

 

“It's Never Over” features a call and response between Butler and Chassange, and they fittingly repeat the line, “it's never over” for so long that it seems that the song will not end, however, it concludes with a powerful: “it's over too soon,” which could likely represent the unexpected ending of hope, life, or any myriad of things that we don't really think are ever going to end.

 

My personal favorite because of it's unique consistency is “Porno”, and it laments a trapped human condition and ruined innocence. The strings make an appearance once again, but not in the normal, climatic, Arcade Fire-ish kind of way. Instead, their presence serves a more basic purpose in this electronic, experimental jam. “Afterlife” is the most unlike other songs on the album because of its tribal percussion and acoustic guitar layered on top of a drum machine. As the beats get heavier, the song transitions into a more electronic mood, then later it moves into more of a 1960's ballad. This kind of flexibility within one single track is a major success on behalf of Arcade Fire, and it should inspire radical creativity in all who encounter it.

 

Though it takes a few minutes before it picks up, “Supersymmetry” is a calm and eerie conclusion to Reflektor with intentional silence, odd and creeping noises, and a focus on eternity and the infinite. Maybe I'm dense or just missing something, but I don't really get why there is so much silence in this song. The transition into it is not intentional enough to make the purpose clear. If it ended at minute 5:00, the album would be nearly perfect.

 

Second-person pronouns create an inclusive call to action for the audience, with words like “we” and “you” instead of “I” or “me.” Each song changes tempo and moods, even without traditional key changes. And most importantly, Reflektor gently scares the shit out of me. Arcade Fire has never been more in-your-face about the messages it wants us to contemplate and act upon, and this parallels Reflektor's bold and experimental musical techniques as well. 

 

 

The Joy Formidable and Passion Pit: CONCERT REVIEW

October 24, 2013

 

An anthemetic introduction of strings on an empty stage began The Joy Formidable's set at the Knitting Factory last Friday night. A long buildup led into “This Ladder is Ours”, and high energy established the scene for the remainder of the show. The three piece band is comprised of vocalist and lead guitarist Ritzy Bryan, whose big, intimidating eyes stared down the crowd with unrelenting intensity, bassist Rhydian Dafydd, who got up in the faces of the front row fans to encourage a rowdy crowd, and drummer Matthew James Thomas, whose wild hair simply spoke for itself. At first, hearing Bryan's voice was difficult among rest of the high voltage noise, but this was more of a technical mistake than a musical one and was fixed after a couple of songs. Each song was intensified by flashing and alternating colors, extended instrumentals, and abrupt endings that were perfectly orchestrated with the lights. Chemistry between the band members revealed their level of comfort with each other as they played each others' instruments, messed up each others' hair, and made teasing faces between songs. “Maw Maw Song” had the most dramatic and drawn out introduction, though the most intense song was the closing one, “Whirring”, which was extended to about ten minutes, and concluded with Bryan throwing her guitar to the ground, kicking the amp, and blowing a kiss as she left the stage.

 

The waiting time between The Joy Formidable and Passion Pit was drawn out, partly due to the fact that Passion Pit has so much intricate equipment that required extra prep time. We had some major squealers and pushers standing behind us in the second row, so this wait truly felt like centuries. However, the break was finally over with the opening, “Sylvia”. Though each member was a contributor, especially with three backup vocalists, the attention focused on lead Michael Angelakos while the rest of the band background casually head bopped in sync in the background. “Carried Away” was featured third, and was the first track from their newer album to be played. This was placed well within the context of the rest of the show, because it was too early to play the hit “Take A Walk” (which of course showed up at the end), but it was necessary for the sake of variety to have a more popular and new song. Angelakos' enthusiasm was heightened by his tendency to lift objects in the air, including his mic stand various times. He moved around with the excitement of a little kid, but without going overboard, and his tongue stuck out of his mouth to bring his bright voice even farther forward. “Sleepyhead”, played toward the end of the set, was my personal favorite with its prominent beats and dance-ability, but “Little Secrets” was by far the crowd pleaser, and concluded the show with full audience participation during the chorus, screaming “higher and higher and higher”.

 

Though The Joy Formidable and Passion Pit have vast differences in genre and sound, the two created a perfect combination next to one another because of their high energy and techniques of riling of the audience.  


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sleigh Bells: Bitter Rivals

October 16, 2013

 

Powerful guitars, a bold nature, and an overall loudness create Sleigh Bells' energetic sound, and even though title track, “Bitter Rivals” maintains this foundation, the remainder of Bitter Rivals is boring and streamlined in comparison to their older work. Many of the tracks sound too much the same, Alexis Krauss' vocals are much too pop-y, and different pieces seem to be dropped in the middle of chaos without any purposeful execution.

 

Chanting, synths, and jarring instrumentals jump in your face after an acoustic introduction to first track, “Bitter Rivals” among the backdrop of barking dogs. There is a sense of togetherness in all of this mess though, as it holds together with a steady beat and anticipation. However, this cohesion is lost throughout the album and progressively becomes worse. During the third track, “Minnie,” transitions between the verses and choruses are choppy, and Krauss' high pitches are almost distressing. A weird interlude is also just kind of stuck into this song. “Sing Like a Wire” is formulaic, and therefore doesn't bring anything new to the table. The bridge to this track sounds like a 1990s computer booting up, and not in a cool way. Fortunately, a smooth transition brings us to “Young Legends”, but the song itself is uninteresting, the power is compromised, and Krauss takes on a role as an annoying pop star. This tendency continues on “Tiger Kit”, which simply doesn't grab me. The vocals and instrumentals are least compatible here, and the final line, “make like a banana and split” is a high school colloquialism at best. “You Don't Get Me Twice” also has a contradictory ending with little to no transition. As the album concludes with “Love Sick”, it sounds the least like the Sleigh Bells we know and love from 2010 album Treats, as it is a disappointing finish to a half hearted work.

 

By combining a sweet yet surprisingly abrasive vocalist with hard rock fundamentals, Sleigh Bells, at least in the past, have proven to their supportive and quirky audience that they have a special ability to make something beautiful out of chaos. Bitter Rivals is a bummer because its sloppy combinations and overall annoying texture. 


 

The Best Albums by the Most Intimidating Laies

October 15, 2013

 

Born to Die – Lana Del Rey

Imagine a 1920s diva enchanting a crowd while laying on a piano, then add some heavy beats, and after that, throw in some dark lyrics that waver between not giving a crap and wanting the whole world, and you've got Born to Die. Lana is an iconic figure because of her bold, brash and charismatic charm.  

 

Untamed Beast – Sallie Ford & the Sound Outside

Sallie Ford is the kind of woman who would beat you in a fist fight and steal your boyfriend. Untamed Beast oozes with her confidence as her vocals, and lyrics for that matter, never hold back. The album starts of powerfully, stays true to its lo-fi roots, and ends wistfully and near desperation.  

 

If You Leave - Daughter

Raw beauty is the theme running throughout this album. Lead singer Elena Tondra will gently tear your heart to pieces with her ruthlessly honest lyrics. Her voice is so effortlessly smooth and conveys emotions that are beyond words.  

 

Strange Mercy - St. Vincent

St. Vincent is a powerhouse, despite her small stature and sweet demeanor. Mild electronic influence and a wide variety of quirky instrumentals set the album apart from other pleasant female artists.  


 

Recovering from a Scary Movie:  A playlist designed to distract

October 10, 2013

 

I watched Requiem for a Dream by myself, and the need to think of anything that wasn't in the realm of disturbing inspired a playlist.

 

https://8tracks.com/mollybirdsmith/recovering-from-a-scary-movie


1. "Put a Light On" by Generationals

2. "Rescue Song (RAC Remix)" by Mr. Little Jeans

3. "Been On" by G Eazy

4. "Team" by Lorde

5. "No Interruption" by Hoodie Allen

6. "Invent it All Again" by Faded Paper Figures

7. "Tongue Tied" by Grouplove

8. "Bitter Rivals" by Sleigh Bells

 

Transcendence: A playlist for your need to rise above

October 6, 2013

8tracks link, yo: 

https://8tracks.com/mollybirdsmith/transcendence


1. "Rad Racer" by Work Drugs

2. "Twice" by Little Dragon

3. "Lay Your Cards Out" by Polica

4. "The Beauty Surrounds" by Houses

5. "Ready for the World" by How to Dress Well

6. "Eyes on Fire" by Blue Foundation

7. "Recover (Cld Rlm Remix)" by CHVRCHES

8. "Sparkly" by Young Magic

 

 

FOLLOW ME

 

on spotify.

http://open.spotify.com/user/1226067344


 

Two Days After the Equinox: A playlist for your tea-drinking, sweater-wearing endeavors.

September 25, 2013

Here's the 8tracks link:

http://8tracks.com/mollybirdsmith/two-days-after-the-equinox

 

1. "The Ice is Getting Thinner" by Death Cab for Cutie

2. "Blue Ridge Mountains" by Fleet Foxes

3. "Towers" by Bon Iver

4. "Grand Optimist" by City and Colour

5. "Six Days at the Bottom of the Ocean" by Explosions in the Sky

6. "Deus Ex Machina" by If These Trees Could Talk

7. "Knife" by Grizzly Bear

8. "Ceilings" by Local Natives

9. "Night Time" by The XX

10. "Terrible Love" by The National

 

Love Inks: Generation Club

September 23, 2013

 

Generation Club is bare, beautiful, raw, simple, and steadily rolls by. Each song subtly builds up with the consistency of a drum machine, and because of Love Ink's minimalist nature, each nuance stands out and calls a purposeful amount of attention to it. For instance, the echos and slight slide in Sherry Leblanc's voice are that much more sultry, the percussion is that much more foundational, and the electronic effects are that much more awakening. Leblanc's vocals tend to be the main focus of each track, however, “Outta Sight” has more of a single vibe to it, and all of the pieces work together to make it cohesively catchy. While all of their songs bring something new to the table, consistencies exist that make them all identifiably Love Inks'. Each begins with the drum machine alone, lulling us into their rhythm right away. The beats are not heavy or dance-y, but rather feel natural, like a heartbeat or everyday movement. Also, each track has its has its own pattern of repetition and wraps everything up as concisely as possible. Truly, the definition of lo-fi is seen in Generation Club's brevity, because they capture what they need to with as little time and effort as possible, which in this case is ten songs around three minutes or less.

 

Opening track, “Hold Out”, establishes the effortlessness that can be expected on the rest of the album. While the first two songs embrace minimalism, “Outta Sight” is slightly fuller and sounds more radio-friendly. “Night Lunch” gives Leblanc a chance to reveal her intriguing personality: carefree, but not reckless. “You can bid me well / I'm not about to follow” she sweetly teases, and her direct comments are nearly whispered with intention. In “Magazine Street”, we see her showcase her ability to know when to be legato and flowy and when to hit words with stronger force and bite. Deeper meanings in the lyrics are established through stylistic techniques. For instance, a begging tone is seen in “Solar Diary” through the repetition of “believe me”, that echos the track, “Blackeye” from 2011 album E.S.P. “Waiting on a Plane” is a perfect conclusion, lazily expressing how “time...drifts...on.”

 

Fans who have watched the previously released “Outta Sight” music video will find that the rest of Generation Club is perfectly complementary. With a U.S. tour this fall and European shows at the end of the year as well, it is safe to anticipate that Love Inks will grow from an emerging band to a lo-fi gem in the next few months. 


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mac Miller: Watching Movies with the Sound Off

September 6, 2013

 

A tiny parental advisory warning label is the only thing from preventing us from seeing Mac Miller sitting totally nude at a plain wooden table on the cover of Watching Movies with the Sound Off. A red wall acts as a bold backdrop, but what stands out most is the stark look on his face and open body language, as if he wanted to be completely bare and observed. In this exact way, the new album is an exposed, expectant, and naked version of Mac Miller. With greater introspection and a heavier drugged-out sound, he has moved beyond his place in the frat-rap culture into something more dark and mature.

 

Opening track, “The Star Room” sets the laid back and serious tone. A minute long intro filled with experimental sounds takes a leap in a different direction from his older, predictable yet catchy tracks on Blue Slide Park. A dark feeling that sounds like it could have been inspired by Outkast's ATLiens appears on “I'm Not Real”, which features and generously hands the spotlight to Earl Sweatshirt. Repetitive tones on top of a creepy, operatic background give this song its ambient eeriness. Both “Bird Call” and bonus track “Goosebumpz” are wildly explicit, but not in the party-boy way we've seen Mac embrace in the past. Instead, it seems as if he is exposing his desperate and disturbing need for women and self-satisfaction. “Red Dot Music” could sum up his entire album's inspiration though, where “it must be the drugs that got us thinking crazy shit / looking up into the clouds where the angels sit”. With hardly any background music, Action Bronson takes the opportunity to ask through spoken word, “Who the f**k is Mac Miller?”, and pointing out what could be a common criticism: “I liked you better when you were Easy Mac with the cheesy raps.” This intimate questioning reveals his identity crisis and conscious choice to move beyond easily digestible tunes and into something more artistically complex. “The Star Room” and “Watching Movies” stand out as my personal favorite tracks because of the way they remind me of 90s rap in its heyday, thought all sixteen tracks blend together well to create an album that sounds best with one continuous listen.

 

Mac Miller's nonchalant nature and soundscapes outside the box are certainly unexpected, though appreciated. I'm happy to see that he's taking the opportunity to grow beyond his comfort zone and deliver a piece of work that is completely unexpected.


 

Daughter covers Daft Punk's "Get Lucky"

September 5, 2013

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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