Culture Greyhound

The best way I can describe something as downright odd as the sound of Eric Braden, aka NYC’s Old Bowl, well…..I really can’t. You’re just gonna have to go download Intricate Days and find out for yourself. Braden recently dropped the LP on his site in that DIY pay-what-you-want style we all love so much.  But perhaps if J Dilla decided he loved the Books and his favorite Beatles song was “Revolution 9,” that would be akin to the sharp, sound collage mindfuck Old Bowl has put together here.  There is nary a stale moment; the listener is engaged throughout the spaced-out clipped beats, sampled dialogue, and snipped obscure songs.  It’s a stirring compilation of progressive beats, mesmerizing melodies, and, at times, beautiful chaos.  Take the trip for yourself.

Take a listen to “SHAME:”

This leaked yesterday, and I’ve been blaring it nonstop. It sounds like old Strokes, so nothing revolutionary, but since when is sounding like old Strokes a bad thing? Angles drops March 22 here in the States on RCA, and it’s all but been confirmed they could stop in Austin for SXSW. Get psyched!

Graab the mp3 here.

It just seems right that one of the finest live duos out there would end up performing for a small, raucous crowd at the headquarters of the record label for Jack White, a pioneer of loud, rocking duos all on his own.  Last year, Nashville’s Jeff the Brotherhood stopped at the White Striper’s Third Man compound and churned out an energetic set for those in attendance.  11 songs in 45 minutes, and it’s a nonstop fist-pumping affair.  You can order the madness on wax here.

The Chicago princess is back with a banging new mixtape from Fool’s Gold.  Download it for free here.  It’s littered with mashups, remixes, new tracks, and other Kid Sis goodies, all in a banging seamless mix.

This past week, Aquarium Drunkard really put me in the holiday spirit and posted all the incredibly rare singles from the Beatles Christmas Singles Club.  The Fab Four would release a new 7-inch every year exclusively to their fan club members, from 1963 to 1969.  The early ones were usually the group ad-libbing with good humor, as well as thanking their fans for a successful year and wishing them a happy holidays and new year.  They show the group in their early years as a rowdy, close-knit young bunch of boys having a good time fulfilling a contractual obligation.

As the years progressed, the singles’ content, as well as the cover art, predictably changed, along with the music, mood, and imagery of the 60’s.  Album art, in correlation with the Beatles conventional, non-holiday records, transformed from photos of the four members in their mop tops to aesthetic collages and abstract photography.  The sound of the singles, too, reflected the alterations in their packaging – the content changed from witty, collaborative banter to more avant-garde soundscapes, similar to “Revolution 9.”  The projects became less collaborative, with the final 1969 single completely different from the first; it feature snippets of songs from Paul, spoken bits from George and Ringo (separately), and dialogue from John and Yoko recorded at their home.

While a lifelong Beatles fan shouldn’t be surprised at the change in content, album art, and collaborative spirit in the Christmas singles over the band’s short career (as it is in line with the general scene and spirit of the time, not to mention the well-documented history of this group), this collection of MP3s is a fascinating listen for Beatles complete-ists and rock music historians.  Go grab them for yourself.

As far as posting goes, I’m pretty late to the game on this one.  I suppose December serves as the month I catch up on all the good stuff I didn’t get a chance to mention before, or only mentioned in passing.

The Walkmen’s track record is impeccable, and Lisbon is no exception.  The group is as gloomy as ever, and the slightly progressive approach to their signature sound pays off.  I am looking forward to hearing the new material live at Stubb’s in March.  Below is a sampling of some of my favorite tracks from the new record, epic and grandiose and depressing and brilliant all at once.

The Walkmen – Angela Surf City

The Walkmen – Stranded

The Walkmen – Victory

Where did all the chillwave go? If 2009 was the year for it, 2010 was the year for slow, boring indie snooze-rock galore.  Once the xx got all famous, that sound (as pretty as it is) over-saturated our hipster culture.  Damn it, sometimes I just gotta dance! — to music that chops up samples, mixes 80’s new wave with trip-hop and electro, and usually consists of indecipherable, reverb-heavy vocals.  Love it!  So thank God for Brothertiger, and now thank God for Games.

While I personally haven’t been a huge fan of Daniel Lopatin’s drone-heavy Oneohtrix Point Never project, I adore this collaboration with Tigercity’s Joel Ford.  The crew’s latest EP That We Can Play (above) is a six-track synth-y treat.  The highlight is, of course, the Cocteau Twins-channeling “Strawberry Skies” featuring vocals from Brooklyn singer Laurel Halo, while “Shadows In Bloom” sounds like something clipped and diced straight from a deep Phil Collins bootleg.  So in short – the backlash is over; can we start hyping this stuff again? Please?

Games – Heartlands

Games – Strawberry Skies

Games – Shadows In Bloom

Greg Gillis put the Internet in a fury this morning when he dropped his latest album All Day around 8AM.  The comp is available for free download from Illegal Art and highly recommended.  It’s a Girl Talk album, so you already know what to expect – Gillis has been the king of mashups for many years now. Just don’t call him a DJ.

Like the classic Night Ripper and Feed the Animals before it, Girl Talk incorporates new hip-hop and R&B with old school classic rock, alternative, indie, and even 80’s synth pop.  Clever mashings include Fat Joe with Spacehog, Miley Cyrus and M.O.P., Radiohead and Ol’ Dirty Bastard, and (in an unbelievable moment of brilliance) Aphex Twin alongside Lady Gaga and Soulja Boy.  Overall, there’s probably sixty years worth of music on here, and it all sounds like it belongs together.  God it’s good to have you back, Mr. Gillis.

Mr. Voytas has made headway here at Culture Greyhound previously (including yesterday’s Five MP3s), and upon further research, it turns out the guy writes some pretty catchy potential hits.  Endorsed by such indie mainstays as Fader, Prefix Mag, Gorilla Vs. Bear, and Pitchfork, Evan Voytas is the new name for dreamy, falsetto-filled, inspired pop, sometimes electro, sometimes not.  The classically trained multi-instrumentalist spends his time in LA, but Voytas has been all around the country, calling New York, New Mexico, and rural Pennsylvania (his childhood home) places he has hung his hat.

When he’s not part of the backing bands for the critically acclaimed Gonjasufi and Flying Lotus, he’s touring and writing his own material, much of which is minimalist pop with a texture of sonic brilliance, giving radio-ready tunes a trippy kick to the head.  He’s someone to watch out for as we approach 2011.

Evan Voytas – Getting Higher

Evan Voytas – I Run With You Spirit Animal

Evan Voytas – I Took a Trip on a Plane

Since his breakthrough in the early 90’s with the Five, Ben Folds has made his trademark piano pop and lyrical witticism known.  Combining parts snark, smart-assery, and sentiment, Folds’ quirk has been adored by millions for years.  Lyrically, you could probably aptly compare hm to a groundbreaking, clever, honest film/novel like, say…..High Fidelity.

How appropriate then, that the creator of that aforementioned work would be a Ben Folds fan, and that this pairing would grow into a long-lasting friendship which has blossomed into a collaborative musical effort.  And indeed, the team of Nick Hornby/Ben Folds is a perfect match on Lonely Avenue.  With the author at the lyrical helm, Folds is free to focus on the score, and the results are the freshest he’s sounded in a while.

The lyrics, unsurprisingly, feel like Folds tunes, mixing up cynicism with pathos, practicality with sympathy.  “Levi Johnston’s Blues” is an earnest look into Bristol Palin’s baby dadddy, with no sarcasm attached.  “Belinda” is a sad tale of a one-hit wonder who clings to his past fame and the sweetheart that inspired it.  “Claire’s Ninth” is a frank look at how a young girl deals with divorce on her birthday.

Hornby’s words are strong, and they fit perfectly with Folds’ keen approach to melody, and because of this solid teaming, the pianist has delivered his finest album since Rockin’ the Suburbs.  With an outing this impressive the first time around, how could you not root for a sequel?

Ben Folds & Nick Hornby – Levi Johnston’s Blues

Ben Folds & Nick Hornby – Picture Window

Ben Folds & Nick Hornby – Belinda