It’s always the same as always

Which one's Pink?
Until now, Ariel Pink has been a DIY purist, releasing home recorded albums on a serious of small labels. He and his band Haunted Graffiti recently signed to 4AD and, by the sound of things, the songwriter has upped his recording budget considerably. The result is one of the best songs of the year.

“Round and Round” is glitzy ’70s pop based around laid back disco beats, soft-focus synths and a repetitive, cyclical bassline. It’s a pleasant ray of sunshine until the two minute mark, when an explosion of sublime choral harmonies immediately takes it to the next level. This gives way to a Bee Gees-infused bridge (check out the Barry Gibb-style falsetto at 3:20) and a reprise of that euphoric chorus.

mp3: “Round and Round”
 
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You blew into my life

Reluctant city folk
Last year, Woods released Songs of Shame, a solid collection of rustic folk with occasional forays into meaning psych rock. It was an enjoyable and often creepy collection of lo-fi acoustic ditties, although the stand out song was actually a cover (Graham Nash’s “Military Madness”).

“I Was Gone” is the first taste of new material since then, and its ramshackle acoustic riffs and ghostly vocal harmonies aren’t much of a departure from the band’s previous work. Think of it as “Paint it Black” as performed by a group of nomadic forest dwellers.

It appears on the upcoming album At Echo Lake, which I wrote about over at Exclaim!

mp3: “I Was Gone”
 
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Mass adulation, not so funny

Andrew VanWyngarden proves that even cool bands have bad tattoos
The guys who live upstairs from me are, to put it delicately, dudes. Or, to put it less delicately, meatheads. They’re nice guys who drive a massive pickup truck, scream at the TV when they watch hockey and throw drunken ragers that tend to get violent at around three in the morning. For music, they favour AC/DC, top 40 rap and…MGMT. Over the past few months I’ve frequently heard “Kids” blasting through my ceiling, proving once and for all that MGMT is the most populist of all hipster bands.

Not to sound like an elitist snob (the blogger doth protest too much, methinks), but the guys upstairs aren’t so likely to enjoy the band’s latest single, “Flash Delirium.” In fact, I’m not sure that I enjoy it either. It takes a shock-and-awe approach to songwriting, blazing through numerous stylistic shifts and disorienting changes. With lite-funk grooves, tuneless group shouting, and beach pop harmonies, it’s barely even recognizable as MGMT—at least until the final minute, when a hook finally emerges in the form of a triumphant backing vocal. Of course, it speeds up to a breakneck noise rock freakout in the final few seconds.

Clearly, MGMT is a band out to prove a point. If I could invent a genre to describe this song, it would be called “definitely not boring.”

mp3: “Flash Delirium”
 
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Ain’t got money to pay the door

Ain't got the money to pay for colour film
My updates have been a little more sporadic lately due to technical difficulties. My hard drive crashed on Tuesday and my internet is constantly in a state of malfunction. I think I need a new computer, and maybe a new modem also. Oh well, money is overrated, probably.

Petroleum By-Product knows what I’m talking about. This plastic-obsessed Vancouver trio recently released a song called “(Ain’t Got) Money.” It’s a trashy post-punk rave-up with glitzy synths and dance beats aplenty. Complaining about her poverty, frontwoman Sally Dige Jørgensen sings in a brash sneer that’s halfway between Johnny Rotten and Fred Schneider of the B-52s. Except, y’know, female.

The song appears on the recently released album Superficial Artificial, which is full of more of the same bedazzled new wave awesomeness.

mp3: “(Ain’t Got) Money)”
 
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Are you able to?

See? Not that summery.
Summer nostalgia is the overriding aesthetic of lo-fi music these days, as artists like Wavves and Best Coast evoke the July long weekend with blasts of sunburnt fuzz and warm beach pop harmonies.

Despite a name that suggests otherwise, Eternal Summers don’t have much in common with this crowd. Sure, they favour lo-fi recordings with buried vocals and plenty of reverb. And yes, they have a video that looks like this. But songs like “Able To” eschew gauzy pop in favour of crisp guitar chords and a straight-forward alt. rock groove. Meanwhile, frontwoman Nicole Yun sings in a breathy voice that recalls Ottawa folkie Kathleen Edwards (although I’m not sure if anyone outside of Canada has ever heard of Edwards, so that’s probably just a coincidence).

Perhaps it’s best that Eternal Summers distance themselves from the beach pop crowd—they are from Virginia after all.

mp3: “Able To”
 
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She’s a fiend for love

Just like Sasquatch, no one has managed to take a clear picture of Zeus
It’s been almost a year since Japandroidsmania, meaning that Canada is currently on the lookout for for the Next Big Thing. Apparently many critics are nominating Zeus, seeing as the band is currently on the cover of both Exclaim! and NOW.

The Toronto pop rock outfit certainly has all of the right friends, performing as Jason Collett’s backing band and getting signed to Broken Social Scene’s Arts & Crafts label.

The band also has some catchy songs, including “Marching Through Your Head,” which is the lead single off the recently released LP Say Us. Its got a steady piano bounce and a chirpy melody that sounds like it was pulled directly out of the Paul McCartney songbook (post-Beatles, mind you). It’s a nice tune, but the squeaky-clean production means it comes out a little sterile—not quite the fire you’d hope for out of the Next Big Thing.

mp3: “Marching Through Your Head”
 
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We’ll be together again

Off to an Eyes Wide Shut-style orgy
Zola Jesus songwriter Nika Roza Danilova is only 20 years old, but she’s already put out an EP and and LP, and she has another EP on the way this Tuesday (March 9). Geez Nika, way to make us look bad.

The new EP is called Stridulum, and it begins with the dark, dramatic “Night.” With its wash of synth strings and austere, clattering electro beats, it’s a creepy tune that’s perfect for late night listening. Danilova’s deep and dramatic voice sounds distinctly similar to Becky Ninkovic (of You Say Party! We Say Die!), but Kate Bush and Bat for Lashes are probably the most obvious reference points. In other words, yes, this is another new wave girl. And a good one.

Just try not to be put off by Stridulum’s gross album cover. Is that chocolate? Please let it be chocolate. (Tubgirl? I’m so sorry.)

mp3: “Night”
 
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Pin it to your wall

Hopefully writing a better album than God Help the Girl
If online music journalism were like high school, then Pitchfork would be the prom queen: kind of a bitch, but we’d all sleep with her in an instant if given the chance. Pitchfork would be played by Jennifer Love Hewitt and the movie would go into slow-motion every time she walked into the room.

Yesterday, my Exclaim! news piece about Belle & Sebastian got cited by Pitchfork. OMG the prom queen talked to me! Should I confess my true love in a letter and then deliver it to her at a grad party after she breaks up with that jerk Mike Dexter?

On a related note, Belle & Sebastian is my favorite band. Here’s the song “Come Monday Night” from frontman Stuart Murdoch’s God Help the Girl project from last year. It’s sung by titular Girl Catherine Ireton, and is one of the album’s two songs that lives to the glory of Murdoch’s previous work. (The other is the title track.)

mp3: “Come Monday Night”
 
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Come home in the summer

I guess his parents kicked him out of the basement
As far as syntactically awkward album titles go, they don’t get much worse than Toro Y Moi’s Causers of This. Still, this passive-voiced title is oddly perfect for chillwaver Chazwick Bundick; judging by the sound of his relaxed electro tunes, if he were any more passive, he’d still be lying on the couch in his parents basement, watching TV while covered in Cheeto dust.

“Blessa” begins wish a wash of synths and an invitation to “Come home in the summer.” This is something of a mission statement, since the song is bound to invoke memories of lazing on the beach in mid-July. Of course, Causers of This came out in January, so it’s hardly seasonally appropriate. Then again, Bundick hails from South Carolina, which is far enough south that it’s hot for pretty much the entire year.

The sound on track occasionally warps and lurches, sounding as if it’s being played on an aging cassette. You know what that means: it’s nostalgia time.

mp3: “Blessa”
 
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It’s all ’bout the love between

The wait for a haircut was a long one
If you’re familiar with some of the artists on Woodsist’s roster, chances are you’ve already got a fairly good idea what White Fence sounds like—that is, dreamy, lo-fi pop. The solo project of Darker My Love singer Tim Presley, Woodsist will release White Fence’s self-titled debut on April 27. It’s already been released via Make a Mess.

The first single is “The Love Between,” and it’s a prickly recording based around a repetitive keyboard riff, out-of-tune guitar leads and some hypnotically muffled vocals. It’s simplistic, but does a good job of setting an eerie mood. The outro is sure to please Velvet Underground fans, as Prelsey’s jagged guitar solo is a spot-on impression of Lou Reed circa The Velvet Underground & Nico. It ends abruptly just 2:15 in, which I’m assuming is intended, and not an error in the track.

To hear more of Presley, be sure to check out Darker My Love, whose 2008 album 2 was an enjoyable collection of shoegazing fuzz rock.

mp3: “The Love Between”
 
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