In a quick 1-2-3 of releases, Field Music shipped out their self-titled debut in 2005, sophomore effort Write Your Own History in 2006, and now Tones of Town in 2007. Hailing from Sunderland, England, Field Music combine silly English-derived indie with a mellow brand of easy-going orchestral and chamber stylings. The result: a horribly mellow Futureheads, with a violin instead of a guitar. Intriguing? Very much so. From the very opening of “Give It Lose It Take It” Field Music becomes elusive to wrap with a description, as their flowing harmonic melodies almost hypnotize your ears from making snap judgments or comparisons. The namesake track “Tones of Town” shows off its album-naming worthiness with up-beat and sunny melodies, and “A House Is Not A Home” finds Field Music’s vocals – a fast-paced attack of British accents that sound strongly of The Futureheads – melding with classic guitar riffs and orchestral effects that could have been taken straight from The Beatles. The combination may raise eyebrows, but works wonderfully. The album runs to its end, but not before “A Gap Has Appeared” pumps the speakers full of sorrowful and reflective orchestral sounds, blending into a delicious soft-edged pop piece. Field Music blend influences very well in Tones of Town, and utilizes their mellow orchestral instrumentals beautifully. For a lazy sunny day – even in gray January – pop Tones of Town in.

All fans of jam bands, Traffic, Cream, jazz-rock, blues-rock, and even Led Zeppelin and Hendrix listen up: Little Barrie is playing for you. A warm modern-day jam band, Little Barrie follow-up their We Are Little Barrie 2005 debut with Stand Your Ground, a slow-moving album of excellently vintage guitar work, easy-going lyrics, and a classic attitude. Songs such as “Love You” and “Pin That Badge” immediately evoke memories of Cream, Traffic, and other classic ‘60s jam bands. Little snippets of a guitar riff here or vocal croon there remind one of Hendrix’s guitar style and Led Zeppelin’s heavy blues roots. “Green Eyed Fool” could divert into a Stooges song from the overly distorted Iggy-like intro, but quickly declares (by use of a scratchy vintage guitar solo in the spirit of The Eagles) that Little Barrie is firmly rooted in the classics of yesteryear. Song after song provide new jams, each with simple lyrics but wonderfully diverse guitar work. Indeed, most of the album is Little Barrie’s superb instrumental work, establishing a groovy beat backbone and laying intricate lacings of guitar work over the top like sonic icing on a cake. The guitar solos in “Why Don’t You Do It?” smash Clapton, Page, and Hendrix into one. While it may not be as good (and what could be better than a Clapton-Page-Hendrix guitar beast?), it sure is refreshing to hear this sort of music played so well nowadays. Little Barrie have put together an excellent album for anyone who enjoys the sound of a scratchy vintage guitar cranking out a good ‘60s jam.

So you say you like My Bloody Valentine, but all that feedback and gobbilty-gook tends to rub your head the wrong way? Headaches result from Ride and it pains you because “Vapour Trail” is just so darn good? Boy oh boy do I have the band for you then. Meet My Majestic Star (mmm, can you smell the alliteration?), the smooth, creamy version of My Bloody Valentine, Ride, and any other shoegaze band you can think up. Ethereal soothing sounds can be found aplenty here, but without the mind-numbing ax-splitting feedback found in Loveless, and the 11-minute “Attachments” can compete with “When You Sleep” and come out holding it’s own. The lovely melodies and sweeping crescendos found in their latest work Fining will have even the hardest shoegaze rocker swimming in a pool of shimmery landscape-filled emerald tunes. “The Letter F” and “Fining” are wonderfully ambient tracks that also achieve a bit of mainstream pop-ability, which lets the listener get gobbled up by My Majestic Star faster then most shoegazers. Fining is a relaxing and exciting release all at once. Short and punchy, My Majestic Star prove to be a wonderful remedy to overworked shoegaze ears—a remedy that (unlike that stuff your mom gave you when you were little) tastes better with every dosage.

(Published at MusicEmissions.com) 

If you’ve been listening to The Thermals’ earlier work, you have probably noticed the striking Nirvana-esque grunge influence on their music (i.e. “How We Know”). Following that train of thought: The Body, The Blood, The Machine is a striking mix of In Utero and Nevermind. Not wholly pop, The Thermals wrap obvious religious and political themes around their grunge instrumentals—thus hinting at the depth found within In Utero. Throughout the album, The Thermals consistently bring up religion in an arguably sarcastic, albeit honestly lost tone. In “Returning to the Fold,” for example, Hutch Harris sings of blistering doubt and discontent, but finishes with “But I still have faith / If I ever had faith / Wait for me / Wait for me.” Furthermore, in “Pillar of Salt,” Harris shouts “That’s why we’re escaping / So we won’t have to die, we won’t have to deny / Our dirty God, dirty bodies.” The need and desire for escape is an overbearing theme of the album. The majority of the songs mention escaping, and even the liner notes declare “ATTENTION ESCAPISTS!!!” Yet, past all this religious and political questioning and satire is the damnably catchy Thermals. “Here’s Your Future” and “Pillar of Salt” are the two strongest pop tracks off the record. Both clock in at just about 2 minutes, 30 seconds, and contain the delicious grunge instrumentals. Quick and dirty melodies wrap themselves around Harris’ unique voice in a way that gets you moving, despite and even in spite of the harsh religious satire held within the lyrics. This healthy mix of depth and pop melds that of In Utero and Nevermind, but in a way that’s more detached from grunge than any of their previous albums. The Thermals have carved a new road for themselves, and it will be very interesting to see where it takes them.

(Published at MusicEmissions.com)

Boy do I hope you like Sonic Youth. If you don’t, turn around and march away from Shiloe this instant, because this music ain’t for you. Unless you’d like to test the infamous underground waters, in which case Shiloe is probably the best alternative to the godfathers of indie themselves. Shiloe’s Please Remove Your Teeth From My Neck is their sophomore EP release, gearing up hopefully for a full-length LP sometime in 2007…because six songs just leave the listener drooling for more. The namesake track opens the release, and right away the influences from Sonic Youth (and a touch of Radiohead and Joy Division). Easy-going instrumental fuzz backs Thurston Moore-styled vocals, but Shiloe comes off much more pop-friendly than the experimental rockers. The farther the listener ventures into the EP, the farther Shiloe depart from the Youth and into Pixie-land. “Tremors” is a bottled-up brew of dark emotion topped with vocals that again adopt many of the same styles as Pixie singer Black Francis. Shiloe channels underground rock right out of the early ‘90s and delivers it – reshaped and remade for a new era – right to your ears. Get on this band so you can join me in begging for an LP.

(Published at MusicEmissions.com)

With accordion and bouzouki alongside, The Decemberists signed onto Capitol Records to release their fourth album, The Crane Wife. In the eyes of many, The Decemberists – a band who enjoys dressing in American Civil War styled outfits – lost all their indie-rep by making the jump to a big-label. The Crane Wife shouts clearly from the roof-tops that it matters not what label backs you, it’s the music that matters.

The running story within The Crane Wife is loosely based on an old myth from Japan, which is cut and jumbled throughout the album (the ending opens the album, the beginning ends it), and basically intermixes a man, a crane, and a wife. The Crane Wife, Parts 1 & 2 rounds out the better part of eleven minutes, and is clearly divided into two distinct songs squished into one. Emotional, loving, hopeless, hopeful, and wonderfully clandestine throughout, The Crane Wife story is backed by The Decemberists’ call-card folk instrumentals. While The Crane Wife, Parts 1 & 2 is the lyrical and ballad masterpiece of the album (if not The Decemberists’ entire discography), this story-line is only a slice of the album.

Following their American Civil War-style dress are a number of songs that could fit perfectly into the time period, including When The War Came. A powerfully repetitive instrumental-line supports Colin Meloy’s haunting lyrics. Sweeping melodies and spine-chilling choruses push The Decemberists’ work beyond mediocrity into breath-taking emotional pieces. Shankill Butchers displays The Decemberists’ love of folklore of yore, singing as a lullaby of the gang of murders that will come and rip “Your ribbons / From your curls” if children do not listen to their parents.

The Decemberists prove that signing to a major label does not mean that they will give up their wonderfully odd indie roots. The Crane Wife is a masterpiece of lyrical and song-writing. Always original, songs like O Valencia!, Summersong, and Sons & Daughters are wonderfully uplifting yet emotionally down-trodden folk-melodies that should be played again and again. The Crane Wife is yet another masterpiece from The Decemberists, if not their best work.

Following up their 2005 Vision EP, Ireland rockers Butterfly Explosion has released more genre blending fun in a minimal package of five songs. Set to be released in August of 2006, the Turn the Sky EP is just one more small taste of the blockbuster to come.

Butterfly Explosion plays with dynamics and tries to pack as much as it can into the simplest melodies. By using repetitive and simple non-effected guitar rhythms such as those found in “Next Year,” Butterfly Explosion makes volume changes and distortion sound like a bigger deal than it would be in other songs. Slow climaxes as well build up to a final moment in the song, when all hell is seemingly let loose and a chill runs down spines. The final climax itself is not all that impressive, but when paired with the painfully slow build-up its brilliant.

Also found in this release is “Car Park,” another instrumental that tries to top the power found in their previously released “Vision” but falls just short. More vocal tracks can be found in this EP as well, shedding light on Butterfly Explosion’s simple song writing. Just as in the instrumentals, the vocals are kept simple and soft until a final climax when an ear, used to the quiet, is assaulted with which in other cases, might be moderately loud singing.

Butterfly Explosion shows again masterful technique in instrumentals and applies the same formula to their vocals, providing yet another ambient and softly powerful EP. Don’t miss this one