Posts Tagged ‘Beach Pop’

h1

Beach House – White Moon / Mathemagic and Young Prisms

August 24, 2010

Check out this lovely new Beach House joint from their iTunes Sessions EP.

Beach House

Also, check out possibly the best post yet on Altered Zones, two new songs from Mathemagic and Young Prisms on their new split 7″. The Mathemagic side is a shimmering electronic pop song, maybe in the realm of chillwave. The Young Prisms side is a woozy, reverb-laden ballad. Both are dreamy and excellent.

Mathemagic/Young Prisms Split 7"

Advertisements
h1

Best New Music: Q1 in Review

April 9, 2010

We’ve finally entered Q2 of 2010, so I thought I’d revisit some of the best music I’ve heard this year so far.

•••

Beach House put out the best record of the year so far, Teen Dream. What we at Radio Cure call “beach pop” has been surging in popularity within the past year and a half and it all came down to Beach House’s third album release. It’s a doozie, romantic pop perfection. Buy it or may God have mercy on your soul.

•••

Another one of the best beach pop releases of the year is the Something in the Way single by Best Coast. It’s a magical, pristine pop song that harkens back to ’60s rockabilly. Best Coast hasn’t released a full album quite yet, but they’ve been making huge splashes on the blogosphere with their great one-off songs, so definitely check them out.

•••

Apparently even major label pop music is jumping on the beach pop bandwagon; Gorillaz recently released their oceanic third album Plastic Beach. It delivers in much the same way that their previous albums have, churning many great hip hop and rock tunes with a guest list nothing short of incredible. Damon Albarn and company continue to prove that major label acts can still deliver truly vital albums.

•••

Grouper and Roy Montgomery put out a Split EP on the first day of the year that rivals other releases this year in terms of inventiveness. On Roy Montgomery’s side, epic, ambient middle-eastern guitar strumming. On Grouper’s side, wistful, understated melodies. Both are gorgeous.

•••

Four Tet put out the stellar There Is Love in You in January, maybe the best electronic album since Flying Lotus’ Los Angeles. It’s minimal techno at its biggest and most physical, influenced by Hebden’s work with Burial. Hebden still has a way with organic sound and makes another dazzling album to fascinate until the next one.

•••

The Knife along with Mt. Sims and Planningtorock put together the sprawling, progressive Tomorrow, in a Year, the opera based on the life of Charles Darwin as well as the history of the earth. It is difficult, abrasive and also incredibly beautiful and brilliant. If you’re up for a challenge, give it a listen.

•••

Finally, Gil Scott-Heron released I’m New Here, his first new album in fifteen years, on XL. It’s unlike anything I’ve heard before, a moving mix of Scott-Heron’s strong vocals, post-industrial production, spoken word and awesome cover songs. If you are into poetry or want an eclectic set of tracks, this is a must-have.

What have YOU been listening to?

h1

Three DC Concerts: Beach House, A Sunny Day in Glasgow, Gang Gang Dance

April 2, 2010

DC just had its arguably busiest week in concerts of the season. The city had shows from the likes of Beach House, Dum Dum Girls, Real Estate, Deerhunter, Spoon, Gang Gang Dance, The xx, A Sunny Day in Glasgow and jj. I personally hit up three shows in a five day period: Beach House, A Sunny Day in Glasgow and Gang Gang Dance.

Beach House at the Black Cat on Friday might have been the most hyped concert of the week for one of the most hyped bands of the year. They quite easily sold out the Black Cat and packed the Main Stage room full of eager fans. The precious Bachelorette opened, who got a fair bit of audience response, probably due in part to her quiet, cutesy New Zealandic accent. Her set mostly consisted of cleverly looped vocals, guitar strums, and drum machines that made for a well received whole. When Beach House stormed the stage, the crowd couldn’t have been happier, frequently letting loose “we love you Victoria!”s and other such words of praise. The band’s set was decent sized and was delivered as well as received with great enthusiasm. Victoria LeGrand and Alex Scalley actually move around on stage and have more energy than their slow, syrupy music might suggest. They played all but one song from their new album Teen Dream (sadly giving arguably the album’s best song, “Real Love,” the shaft) as well as a couple older numbers, even stretching back to their 2006 self-titled debut for “Master of None.” The encore was just perfect. They first played a crowd favorite from 2008’s sophomore album Devotion, “Astronaut,” and clinched the show with a spirited rendition of “10 Mile Stereo.” Although seeing Beach House live doesn’t differ much from  hearing them on an album, it stands that doing both is a breathtaking emotional experience, and I would say that just about everyone at the Black Cat on Friday had a great time.

Beach House

A Sunny Day in Glasgow played on Sunday at DC9, which might take the cake as DC’s smallest regular concert venue, but it is also one of its most rewarding. Its acoustics are nice and its setup puts the audience just feet away from the performers. We walked in a little late to just catch Phil and the Osophers play an enjoyable, playful pop set that felt similar to the likes of Vampire Weekend. Although it was a fairly innocuous set, I admit to wanting to hear more from the band, and I hope they had a good time at SXSW where they played just last week. When A Sunny Day in Glasgow got started, their set was unstoppable. Their live presence is something to be reckoned with, six band members on stage all doing different things for every song (a favorite moment was when Ben Daniels broke out an electric mandolin). The group focuses their powers around vocalists Annie Fredrickson and Jen Goma, who harmonize the songs’ airy vocals to lovely effect. Most of the songs they played sounded better than the studio versions, which were already superb (recall my naming Ashes Grammar one of the best albums of this past decade). They played through new favorites like “White Witch,” “Failure” and “Passionate Introverts” with lovely vitality. The biggest disappointment of the show was the lack of an encore; they played through a rather short set and could have easily extended it to better please the crowd, but that was about their only shortcoming. They will surely have my ticket sale the next time they come to town.

A Sunny Day in Glasgow

The wait for Gang Gang Dance at the Rock ‘n Roll Hotel on Tuesday was long, and opening act High Life only made it feel longer. His high pitched squeals over noisy effects loops were maybe an appropriate way to ease the audience into Gang Gang Dance’s set, but it was still hardly appreciated except by a select few near the stage. He later made up for the set by acting as Gang Gang Dance’s much needed bass player, who gave the main band’s music the strong under-melody it needed. This was particularly important because Gang Gang Dance played so loud that it was sometimes difficult to hear what one was hearing, and a strong sense of melody as well as rhythm was needed to make sense of the raucous din. This situation could have been disastrous if the acoustics were different and the sound was too noisy, but Gang Gang narrowly hit a bullseye mark that got most of the audience nodding and bobbing in a narcotic haze. All of the songs they played were new, some melodic and most all featuring beats and melodies that sound like they come straight from Saudi Arabia or India. The only tune I recognized was the shimmering “Crystals,” which featured steel drum sound effects and twinkling synthesizers. We can hope that this song, as well as the others we heard that night, will make it onto Gang Gang’s next proper studio LP. Overall I’d say the venue housed a great amount of satisfied customers, considering the band surprisingly almost packed the house. But we need to remember that Gang Gang are a noise band, and though their noise is beautiful, it is still willfully cacophonous, and should be judged appropriately.

Gang Gang Dance

Overall, I had a really awesome time at all of these shows. Conclusion: DC has a lot of great shows, some of which are highly attended and some that aren’t, and if you pick and choose well enough, you can get more than your money’s worth for a night, or week, of fun.

h1

Best Coast

February 21, 2010

Best Coast

If you listened to Radio Cure last night, you caught me and Joey gushing over a new band on our now somewhat regular segment of “Beach Pop” as we call it, the new scene of music on the indie horizon which features sunny, ocean-bound pop music. We’ve seen a lot of it within the past year or two making a splash in independent music from the likes of Beach House, Real Estate, jj and more, including now this lovely artist Bethany Cosentino, known widely as Best Coast.

When Joey first played Best Coast to me, I immediately thought of the syrupy fuzz of the Vivian Girls, and it was exciting to find out that the two bands are currently touring the West Coast together. But the Vivians use similar means to reach a quite different ends, having championed a unique style of garage punk that has been more divisive than nearly any other band in recent history. Best Coast seems a little harder to dislike than the edgy Vivians, mostly because the innocence and lack of pretense in her music is even more apparent. She crafts lovely lo-fi West Coast pop music in the vein of The Ronettes that wouldn’t sound out of place on the American Graffiti soundtrack.

Best coast have only released a few singles and EPs so far, but their output is already home to a small treasure trove of pop classics. They’re the kind of tunes that you hold onto and don’t want to let go of, the songs that you put on repeat because you hate the thought of them ending even though you know that they need to, songs with melodies that sound like splashes of bright paint and clear ocean water. Take “Something in the Way,” an irresistible bittersweet heartbreaker, or the astute “This is Real,” love songs with tearjerking hitches. Does it get better?

Their material is sparse, so seeking them out is completely easy and enjoyable. If you like what you hear, do a little more searching on Hype Machine.

Something in the Way

Art Fag 7"

h1

Beach House – Teen Dream

February 1, 2010

Teen Dream

Is it possible that Beach House started all of this beach-combing nostalgia? Granted, the “Beach-Pop” scene is still a new, developing niche, but it feels like Beach House have been around forever, spinning tales of love and loss as waves erode the shore. In actuality, it has been less than five years and only three albums, but now and more than ever it is apparent that the Baltimore duo have staying power. The band’s new album Teen Dream was released last week to booming critical reception, and this is a rare time when you’ll hear me tell you to believe the hype and give the album a shot regardless of your opinions on prior Beach House releases; it is a clutch release that sets out to prove a lot and does so with flying colors. If there has ever been a time to believe that the genre of seaside dreampop drawn into the sand by the likes of jj, Real Estate, Delorean, recent Grizzly Bear, and Beach House could really lift off, that time is now, with Beach House quickly gaining altitude as one of indie pop’s most beloved bands.

One of the most convincing, immediate factors of Beach House’s new maelstrom of critical praise is vocalist Victoria Legrand’s delivery, which only becomes more and more convincing with each release. First single choice “Norway” expands upon the one-word-chorus heroics of “Gila” off of 2008’s Devotion. It’s hard to imagine Legrand wringing any more emotion out of two syllables, snaking vowel sounds through complex melodies with greatly varying textures. At some moments she sounds like an orator and at others a crying child. Similarly showstopping is the second to last song, “Real Love,” which comes in the middle of one of the greatest one-two-three punch knockout endings in recent recollection. Over the sound of someone searching through antiques in the basement, Legrand sings “I met you somewhere in a hell beneath the stairs/There’s someone in that room that frightens you when they go boom/boom, boom, boom…” Once again, just listen to Legrand’s repetition of that single syllable, bringing both her and us nearly to tears before she lifts us up with the gorgeous closer “Take Care,” with the album’s most timeless lyrics: “I’ll take care of you, take care of you, that’s true.” The song sounds ancient, even though it is an early highlight of the new year.

But “Used to Be” is actually, as far as I know, the oldest track on the album, having been released as its own single way back in 2008, and its progress represents Beach House’s growth since Devotion. In single form, it felt like a slight departure from Devotion but with a very similar sound. It was possibly the most melancholy song we’d heard from the band yet, and it had an awful lot of competition. Legrand wistfully inquires “Are you coming home?/Are you still alone?/Are you not the same as you used to be?” like she really doesn’t know the answers, and the track features electric guitars that cut like knives from the other half of the group, multi-instrumentalist Alex Scally. It fizzles out, unresolved, after a lengthy, painful outro (“Even if we tried so hard, would we still be coming to an end?”) and some whispered, nearly unintelligible mutterings. The original single take of “Used to Be” is a rarity, presenting heartbreak in equal parts of delicate consideration and ugly dejection. At this point it seemed like Beach House were at the height of their powers, just about at the fringes of being able to make their audience, with great certainty, cry their eyes out, just because it felt so damn real.

With that said, what Beach House have done with the new version of “Used to Be” is less of a step forward and more of a step upward. Despite argument to the contrary, Beach House didn’t come to the table with a fully formed sound. One refined into its lowest common denominator, sure, we can agree on that, but as 2008’s Devotion and now 2010’s Teen Dream have proved, Beach House have had a long way to go since they started so many years ago, a long way until they could have made a song like the final cut of “Used to Be.” At about 1:15 of the new version, the swooning, dreamy passion that the old version flirted with is taken all the way by a slightly changed chorus, a wash of cymbals and a thick kick drum. All of a sudden, the song is bursting with life and energy; it even sounds like Legrand can barely catch her breath. Although the new version is about the same BPM as the original, it sounds infinitely more vivacious. The transformation is completed with new outro lyrics: “Coming home, any day now…” It’s easy to think, “Ah! So THAT’S how it’s supposed to sound” at this point.

The entire album is filled with moments like this, where Beach House’s stylistic advances really shine and it becomes apparent how hard they have worked and far they have come. The self-harmonized vocals on “Zebra” breath life into an already shimmering melody that cleverly starts the album off on an ending note. “10 Mile Stereo,” the first song in the aforementioned power trio, takes the band’s tempo to the highest its ever been and its guitar tones even higher, nearly reaching shoegaze levels of reverberation, and throws in an incredible ending cymbal solo. “Silver Soul” is most haunting use of the words “it is happening again” that I have heard since “Blue Sky Revisit.” At this time, I should probably point out that while Teen Dream is a gorgeous album, it also has its dark moments, like their previous albums. My cousin, who is usually into industrial thrash, found “Astronaut” from Devotion a compelling listen. He’d probably find Teen Dream to be more than haunting; it glazes over none of its ugly or painful moments whatsoever. It presents its love and pain in equal esteem, creating a full, balanced, bittersweet end product.

Teen Dream is a tremendous, momentous album, but what is more amazing is that it is easy to see it gaining even more momentum as time goes on. It already sounds like finely aged wine, Legrand and Scally having developed an unmistakable style that they have carried a very long way and have taken to new and exciting places on Teen Dream. When Devotion came out, it made the band’s 2006 self-titled debut sound ancient, and “Aburn and Ivory” still calls out like a dynamic ’60s dirge ala Jefferson Airplane. Teen Dream does much the same thing for Devotion, making the likes of “You Came to Me” and “Home Again” sound like established standards of this new thing I called “Beach-Pop.” We can be rest assured that Teen Dream, as Beach House’s finest album to date, will enter that same realm, and soon enough it will be the kind of album we can rest our heads against and sing along with while drifting into a deep sleep.

Also, check out the band’s new Daytrotter Session.