Best in Music: April 2006 Edition

Islands - Return To The Sea (Equator)

At the height of their success in 2004, the breakup between Alden Penner and Nick Diamonds due to irreconcilable differences marks the dissolution of the Montreal avant-garde pop group, The Unicorns. Though the split may seem abrupt to fans, they don’t need to fret: Two-thirds of the band (Nick Diamonds and drummer J’aime Tambeur) emerge as Islands to satisfy the appetites of those still hungry for a slice of The Unicorns. Though one may be inclined to call their return-to-the-scene album, Return To The Sea, a follow-up to the noisy Unicorns 2003 LP, Who Will Cut Our Hair When We’re Gone?, it should exceed beyond that. It still embodies The Unicorns’ free-wheeling sound but as Islands, songwriter Diamonds has polished his pop songs, composing a more meticulous release than their sound smorgasbord of the past. The absence of the extrinsic bells and whistles of The Unicorns leaves room for Diamonds' playful songwriting to luster. The melodies are infectious and laced with a rich arrangement of instruments and the lyrics that refer to marooned castaways, celebrity anorexia, and puns about Diamonds’ name are enjoyed for their sense of humor. You don’t need to be familiar with The Unicorns to love Return To The Sea, you just have to love pop music because basically, this is pop music at its best and Islands set sail to isolate themselves from the rest.

[Don't Call Me Whitney, Bobby | Rough Gem | Volcanoes]

The Fiery Furnaces - Bitter Tea (Fat Possum)

Illinois-born sibling duo of Matthew and Eleanor Friedberger has always been abnormal. Ever since their 2003 debut, I’ve always praised them for their intrepid approach to music. Along with this attraction, though, lies their biggest drawback: They sequester themselves so far from the normal that they become inaccessible. Their tracks are filled with so many eccentricities sometimes that listening to them become arduous, which was the case with last year’s Grandma Friedberger-fronted Rehearsing the Choir. Their fifth album, Bitter Tea, transcends because if carefully explored, there’s a pop sensibility scattered among the peculiar tidbits. Not that this release falls short in oddities—this is a Fiery Furnaces album, after all—but there’s always been a purpose for them, even at their weirdest. The toy instruments and the manic arrangements are there to emphasize the album’s lovelorn and sometimes paranoid anecdotes of its youthful protagonists. The backward vocals are intended to dim the narrative that exists, whether it’s an obscured recollection or an inability to articulate thoughts. But, absolutely, what makes Bitter Tea special is its simplistic pop melodies and with that, also spotlights Eleanor’s voice; it’s unique and supreme, even when singing backwards. If you find the Fiery Furnaces of the past hard to relate to, this album should be more your cup of tea.

[Teach Me Sweetheart | Waiting To Know You | Benton Harbor Blues]

Various Artists - The DFA Remixes: Chapter One (DFA/Astralwerks)

There’s unpredictability in remixed songs. It insists among fans an uncertainty for the finished product, especially if the song being remixed is already a favorite. It’s a delicate art that has been attempted by many but to be successful at it, it is important that the original isn’t butchered. The duo of James Murphy and Tim Goldsworthy aka The DFA are experts at carefully tweaking the song’s beat, riffs, and noise, elevating tracks to new disco-punk altitudes while maintaining the original’s integrity. Remixing songs is where they’re at their best and evidently, what made them high in demand (their refusal to work with Britney and Janet was well documented, so was their musical snobbery). Tracks from nine of the bands/artists that met their standards are featured in Chapter One of this compilation and fundamentally, their finicky client selection may be their best asset since these tracks are good to begin with. But just to ensure you’re listening to DFA, it’s adequately immersed in their signature cowbells, handclaps, and pummeling bass lines that slowly percolates as the song progresses. These songs were previously released individually as sought-after B-sides and limited editions so this, at least, should provide the DFA enthusiast a necessary collection. Although they may not be the most inventive, this remix compilation defines The DFA’s influence in the scene.

[Deceptacon | Another Excuse | (Just Like We) Breakdown]