Best in Music: March 2006 Edition

Band Of Horses – Everything All The Time (Sub Pop)

Seattle indie rockers, Band of Horses, emerged after the break-up of Pacific Northwest sad-core specialists, Carissa’s Wierd, whose somber demeanor and whispery delivery defined them as cult favorites. While the earlier band concentrated on a more subdued approach, the newer bunch had their sound juiced up. Even in the tracks where the melody is more gradual and pondering, they still intensify into an enfilade of shimmering guitars. The layers from the instruments – all of which are played by Carissa’s Wierd alumni, vocalist Ben Bridwell and bassist Matt Brooke – are carefully blended and conclusively expands the debut album’s complexity, yet still keeping it familiar to the unadventurous. But, tempo change aside, one aspect that was kept constant in Bridwell and Brooke’s transition to Horses is the ambivalent songwriting featured in Carissa’s. The intelligent lyrics that were present in all Carissa’s albums and, also, in Horses’ introduction have always promoted a sense of dismay with an underlining of optimism waiting nearby. On a new beefed up sound, it would be challenging to accomplish this; however, Bridwell is up to the task. His reverb-soaked, high-end vocals, reminiscent to a Flaming Lips’ Wayne Coyne or a Built To Spill’s Doug Martsch, convey an effervescence that is needed when turning unhappy messages less depressing; a fundamental trait of this Band.

[The First Song | The Funeral | The Great Salt Lake]

Mates Of State – Bring It Back (Barsuk)

Mates of State specializes on organ-filled, guitarless cute music. This San Francisco husband/wife duo of Kori Gardner (organ/vocals) and Jason Hammell (drums/vocals) had been exploiting their romantic bond to communicate their charming tunes for three albums now and in their fourth, Bring It Back, it’s no different. A glance at the album cover, an image of them sharing a warm embrace (and apparently sharing a make-up kit, as well), and it’s obvious that the songs you’re about to hear will portray a synopsis of their affection for each other. What saves Bring It Back from being too bubblegum, though, is the proficient arrangement of their pop jewels. The simultaneous chants are simple enough that it eludes a vocal overload and the synth organ was adjusted to contain the ideal amount of fuzz for each song. As expected, “love” is the idea behind the lyrics, whether it’s love for a newborn baby, love for music, or love for each other, and each is sung yearningly with perfect vocal harmony rivaling Nick and Jessica circa Newly Weds Era. Certainly, Gardner and Hammell’s duets are not as much aimed towards an audience, but it’s directed towards each other and that authenticity in their relationship is the reason why this is effective. There’s this concrete emotion present behind the songwriting that gushes out of the speakers for listeners to immerse themselves in.

[Think Long | Like U Crazy | Nature And The Wreck]

Mogwai – Mr. Beast (Matador)

Scotland’s Mogwai have been paradigms for post-rock after ten years of existence, four studio albums, and a few reinventions of the genre. With their discography, they quivered audiences with an eardrum-pulverizing intensity using a turbulence of dense guitars. As well, they lulled the mild with more tranquil notes reverberating from an echoey piano to produce chimerical experiences. Their fifth, Mr. Beast, is an album for the indecisive Mogwai fan. Both of the contrasting styles they have dabbled with in the past are featured here, creating a more accessible release. However, to avoid a “clip show” impression, they polish the details they excel in. The hushed tunes are more majestic, leading to more tickling goose bumps and the wall of guitars crescendo louder, leading to more euphoric rushes. Most importantly, they toned down the electronic embellishments which had tendencies to somewhat clutter the arrangement, which was evident in some tracks in 2003’s Happy Songs for Happy People. What should be marveled is the sequence these ten tracks are compiled. The quiet segues effortlessly to the blaring and vice versa, creating a fluid sinusoidal progression of emotions. If you’re unsure to which Mogwai you find more appealing, with this album, choosing is not imperative. Mr. Beast may not be their most audacious offering, but it may be their most powerful.

[Travel Is Dangerous | Emergency Trap | I Chose Horses]