Singles and More: Imaginary Mixtape 3/3

            This is the 3rd imaginary mixtape, here on Track-By-Track.

            Well, here’s the last part of mixtape month.  I leave you with shoegaze, chillwave, post-rock, and dream pop songs that are inspiring, catchy, an above all else, enjoyable.  Loads of great artists, loads of great songs, and loads of room for checking out more about anything you see here.
            It's been exciting to spread the word about things I wouldn't normally review, due to being singles, or being slightly out-of-genre; and this one boasts some singles with production-values galore.  Maybe next September...
            Here's my TBT:

            1. “1991” by The Fauns (2009)

            This track is like if a band were transported from the ‘90s, straight into right now.  When I listened to “1991”, I felt waves of an intensely personal, yet distant contentment, shrouded by some cold sense of looming melancholy.  It so beautifully captures the sound of ‘90s dream pop, trapped in a modern digital winter.  The feeling of long-lost memories tainted (or perhaps improved) by data-loss.  I know this sounds a lot like gibberish, but it’s how I feel when I listen to the track.  Beautiful almost-whispered vocals with great delays and lyrics, a soft textured beat, delayed and processed guitar, bass that compliments the rest of the track through taking a major role (and perfectly so), and samples or synths (or both) that provide a great backdrop to the intensely melodic and evocative “1991”.  Every track was leveled, processed, and performed to perfection.   Beautiful job; absolutely beautiful.  The Fauns are coming out with a new album this December, which will likely be fantastic.  (http://thefauns.bandcamp.com/)

            2. "Hiding Place" by Observer Drift, [single] (2012)

            I can't say enough about this artist.  This is a chillwave track in all the right ways.  Great lyrics sung under just enough reverb, Summery reverb-drenched guitar with surfy overtones, old-school digital drums, addictive bass, and warm synths.  There's a certain feeling that the song evokes; a kind of happy nostalgia, not too bittersweet, but just enough of an old-feeling vibe to make the song instantly and constantly repeatable.  All the elements fit together perfectly to make a song that really defines Collin Ward's Observer Drift sound.  Be warned though, it's so addictive that you won't be able to listen to it just once. (http://observerdrift.bandcamp.com/)

            3. “Front Porch” by Gloss, [single] (2013)

            "Front Porch" is the kind of indie/chillwave crossover that I predict will explode on music scenes everywhere in the coming years.  It's a track with definite '80s influences, but it's not a direct '80s copy of style.  Vocals and guitars are indie, but with a bit more processing than I'd expect of most indie tracks, which really differentiates Gloss from straight-up indie.  The synths are really nice, and drums aren't too harsh to take away from the relaxing mood, despite being at a fast pace.  Bass is a bit like the more melodic songs by Sonic Youth, and the lyrics work perfectly with the vocal style and reverb/delays.  Just listening to the guitar makes me want to take up surfing.
(http://glossmusicmn.bandcamp.com/)

            4. “Winter’s Hum” by Silver Wren from Thought Streams (2013) (originally from the Fall Sky-Winter’s Hum 2011 Bad Panda Records release)

            "Winter's Hum" is a great acoustic/shoegaze crossover song.  It has a very icy sound; loads of hi-freqencies in the vocals and guitars.  There are occasional cymbals, but mainly, it's a couple acoustic guitars wonderfully making use of stereo, vocals sung expertly with great poetic lyrics, and an understated shoegazy guitar loop beneath.  This is what I think, when I think of alternative music in general.  Instruments and chords that could be ordinary, that are turned into new sounds through production and artistic intention.  In less verbose terms, Silver Wren (Ross Campbell) has created an icy alternative treat with "Winter's Hum" (http://silverwren.bandcamp.com)

            5. “Anonymous” by The Sound Of Rescue, from their eponymous album (2012)

            The instrumental track starts with a sweet warm ambient wash (likely of guitar), then a nicely equalized bass comes in, pre-empting what the track is going to turn into.  It's similar to Georg Hólm's bass in Sigur Rós, and going with that, the track becomes a thoroughly uplifting post-rock song.  Guitars with huge reverb and slow, emphatic drums come in, for a track worthy of Sigur Rós themselves.  "Anonymous" is the kind of richly mixed and performed ambient/post rock track that makes it feel like finding a haven in otherwise undesirable surroundings; relaxing or stimulating depending on what mood you're in, and often both. (http://thesoundofrescue.bandcamp.com/)

            6. “Totally True” by Violens, [single] (2011)

            Amazing ‘80s sound, with almost no hint of modern distortion of the style they’re going for. 
One of the rare times I’ve actually thought a song was around 30 years older than it is.  Violens somehow managed to write, perform, and produce music that sounds like contemporary competition for Unforgettable Fire-era U2.  New wave to the nth degree, the only clue to its modernity is the lead guitar at the end.  Amazing melodic structure, with all the right sounds to really prove that good and classic music can still be made right now.  Great vocals and harmonies, slightly chillwave guitar, bass that defies modern style, classic drums and tambourine, and did I mention “competition for Unforgettable Fire-era U2”? (http://violens.bandcamp.com/track/totally-true)

            7. “Visions of Katya” by Bulldog Skin, from White EP (2012)

            Warping galore, with this heavily compressed and strangely equalized track.  Vocals jump out as a mix of older rock influences, and modern surf, through eqs that sound almost like a megaphone frequency-range.  Drums and synths start the track, both distorted and processed in a strangely analogue-digital collaborative sound.  Then comes the guitar; huge and drifting in and out of key with that trademark shoegaze warping.  I can’t really tell if there is a bass in the track other than the synths, but if there is, it’s obscured by the other sounds pretty heavily.  Lyrics are odd, and fit well with the track.  Just think surf-music by post-EDM shoegazers.  And amazingly, it's a solo project!  Marc Z. Gold from Toronto produces and performs almost the entire EP.  (http://bulldogskin.bandcamp.com)

            8. “Locationship” by This Gratia, from Qi (2012)

            This is a more ambient track than the rest of this imaginary mixtape.  There are elements of shoegaze in it, but it’s definitely deep-ambient as well.  It starts with a warm low-passed synth loop, and then come the sounds of something strange being phased, sped up and cut up guitars, flurries of vocals, and a soft bass kick.  “Locationship” keeps on going from there, progressively adding more and more sounds and instruments.  Synth bass, backward-sounding other instruments, and a sympathetically pitch-warped piano or similar-sounding sample, are among the many sounds.  It’s intensely relaxing, and there’s just enough reverb and compression to give it a decidedly soft, warm sound. (http://thisgratia.bandcamp.com)

            9. “You Came Out Of Nowhere” by Owsey, Stumbleine & Shura, from Remixes and Collaborations [Stumbleine] (2011)

This one took me by surprise.  I don’t know whether the samples are from other songs, but I do know this one is as Summery as anything I’ve listened to.  While not strictly shoegaze or alt-rock, Stumbleine (named after a Smashing Pumpkins song) has the sensibility of softer ambient/dream pop/shoegaze/EDM crossovers, especially present in “You Came Out Of Nowhere”.  A string section, a pre-dubstep tremolo-affected bass synth, and a slow, textured beat are the perfect backdrop to soft and beautiful vocals, glockenspeil, and possibly a koto.  Reminds me of Bonobo’s downtempo songs, but with a more free-flowing, less obviously loop-based style, and with loads of delays and reverb.  Definitely on my playlist this Spring and Summer. (http://stumbleine.bandcamp.com/)

            10. “Heaven Is A Place Where Nothing Ever Happens” by Wheat Fields, [single] (2012)

            This is a track that sounds instantly classic.  The guitars alone create a beautiful, textured sound, with interesting and beautiful chords; but that's only one element.  The bass takes a front-role as well, in what I guess can be called lead bass.  It's as prevalent as any other element, and the guitars seem almost to support it, instead of the usual other way around.  Drums are kept to a minimum, with only a tambourine loop and bass pedal kicks keeping the beat, a little like a slower Spacemen 3's "Walking With Jesus".  Vocals sound wonderfully as if they're out of the '70s; sung with just enough emotion, and through heavy reverb, with simple but good lyrics.  Synths come in late, and they're in keeping with the mood and sound as well.  When I first heard the track, I wanted a certain guitar-bass combination to happen at the end, and I wasn't disappointed.  Basically, I love this track.  (http://wheat-fields.bandcamp.com/)


            Overall, these are 10 more great tracks from 10 more great artists.  I call this imaginary-mixtape project a success, with all of the sounds from these posts.  Next week I’m back to one-release reviewing, but it’s been a blast reviewing so many bands that have become musical staples in my ears.  No, not the metal kind.

Fjords: Sounds of Summer

 

            Well, here it goes.  The first review, the first real day of action, here on Track-By-Track.  Hope it goes well.  Wish me luck?

             I’m reviewing Observer Drift’s second full-length album, Fjords (2013). I’ve been a fan of this artist’s music ever since I came across the LP Corridors, on a random shoegaze search on Bandcamp. I first downloaded it almost straight on to my mp3 player, and later thought: “Wow, these people are really good”. Little did I know then, it only took one person (Collin Ward, to be exact) to make these sounds. I’ve been hooked ever since. That was a year ago.
             This time, Fjords sets a new bar for quality in independent music. Many of the songs sound like they were produced and mastered in a professional studio, yet without too much attention to the standard verse-chorus-bridge stuff most songs now apply themselves to. It’s free-flowing, and above all, it sounds extremely modern, or maybe even post-modern, in a good way. I feel like this is a sample of the new style of music, whether many mainstream radio stations and labels catch on or not.

            This album is everything I hoped for and more, and won’t disappoint, whether you’re looking for relaxing or energizing music.  And it’s an interesting departure from Ward’s previous work, without ignoring or throwing out the things that made his older songs work so well.

            Here’s my TBT:

            The album starts with “Machine”, which sounds like a somewhat more modern callback to Corridors; the perfect intro to the next hour of your life.  There are some Jónsi & Alex-esque sounds, pleasantly overpowered by spacey-synths, and that trademark guitar style Ward has by now perfected.  At just over 6 minutes, I was glad to not worry about it ending too soon.  In the last third of the song, it breaks into an Arcade Fire-like amalgam of the sounds of the previous Observer Drift sounds, but again, with more modern synths, to let you know you’re in for a new ride.

            Next, comes “Sporting Chance”, which is a danceable song, and in which, the album really takes on its new style.  The vocals are deftly sung, with just enough reverb to make it mainly a chillwave song, without taking away its good-pop catchiness; and the synth and guitar hooks make it that much more awesome.

            "Azimuth" is the third track, which is a bit indie, but the (likely) pitch-treated guitar makes it transcend beyond most indie songs.  Great synth tones bring it far into the 21st century.  The lyrics are basic, and very catchy.  It builds, and though it didn’t immediately grab me, by the end of the song, I loved it.  And as you’ll probably hear in future reviews, I’m a huge fan of falsetto.

            "Riptide" brings a syncopated beat, with loads of Summer energy in the vocals and instrumentation.  The lyric: “You hit me like a riptide” makes me think of how this album pretty much immediately catches and captivates; this album will hit you like a riptide, but you’ll want to stay in its sonic ocean.  A nice synth solo in the middle brings back the good 80s style we’ve all but forgotten in modern pop, only to be abruptly stopped by the sound of rain, and an ambient guitar line, and before you expect, it's a whole new melody.  The line “Keep to the plan and don’t look back” sums up the style and pace of this album.

            The title track brings a whole new dimension to Ward’s work.  It feels like an instant hit.  The acoustic guitar and slow beat makes it mellow, yet powerful, and vocals are treated with a great eq, and heavy reverb at all the best times.  It instantly makes me think of a sunset, maybe because of the hook: “We can live tonight”.

            "Marina" comes next, and it’s reminiscent of the first Observer Drift release, Coloured My Heart Red (EP).  Love the treated or sampled tones that occassionally add some great watery mood to the song.  The lyrics didn’t catch me at first, but as with the rest of Observer Drift, it’s addictive, without bad side-effects.

            "Lingonberry" definitely showcases lo-fi influences well, and there are some great lyrics throughout.  Like many of the other songs, it has hit-quality, without losing the alternativeness which makes it so great.  It’s a bit like Ward’s first release as well.  And Ward’s lyrical skill actually made me grin during this one.

            The 8th track, "Never Strangers", is a change of style once again, sounding reminiscent of Coldplay at first.  It begins with guitar and a few soft non-guitar tones, and then, as if by request, it becomes an almost “Modern Man” Arcade Fire-style indie track.  It takes you right out of your expectations, and gets better with every second.  Some of the vocal harmonies also remind me of M83, and the lyrics are top-notch.  And the ending is really fitting.

            "Mirror Image" gets back to the sun-and-water-soaked sound Azimuth, Riptide, and Sporting Chance also showcase.  It just sounds like Summer.  The interesting guitar chords are a bit like what I expected from My Bloody Valentine after all these years, and a bit like what they came up with; but not to digress, they’re perfectly complimented by great lyrical hooks, which Ward seems to be something of a pro at writing.  It seems like some guitar tracks are slowed or pitch-changed below normal, and the electronic drum track is great, even though it only really becomes noticeable at the end.

            The 10th track, "Binary Love", was the only track to be partially released long before the album was released.  The chorus was first available on the Observer Drift Soundcloud page, and though it’s a great track, I was actually surprised that some of the levels and layers sound held-back more on this release.  I think the Soundcloud demo had more reverb, so the track feels a bit more right there.  The beat is very addictive, and with the guitar and lyrical hooks, I bet it would be great for party-style dancing.

            “Parallel Place” brings in some more Corridors-style night-mist atmosphere.  The guitars and synths perfectly compliment each other in the beginning, and then the drums abruptly show themselves.  This sounds like it would be a good ending for the album, especially because of the lyrics, but it’s actually just a slower, softer moment on the album.  It becomes an anthem, with some Sigur Rós-esque glockenspiel near the end.

            “Up in Arms” feels almost like a post-script, after what felt like the end (don’t worry, the real end is coming later); but it reminds the listener that it’s more about the continually-changing evolution from sound to sound and style to style on this album.  It’s very surfy, and has that Observer Drift sound.  Dangerously catchy.

            The penultimate track, “Gnarly Crunch”, is an instrumental track, with trancy-synths, and lightly funk-influenced bass, with a guitar that sometimes sounds like a classic vibraphone.

            The final track, “Teach Me”, is a very fitting and unexpected ending.  It’s mainly a folky song, that totally takes the listener by surprise.  Great vocals and heartfelt guitar make this perfect for the wind-down after the awake energy of most of the album.  I won’t ruin the surprise by saying any more, but though it's almost redundant to say this, it proves that this album has been about change, yet with a certain nostalgia and reverence of the past.

            Overall, this album is extremely strong, and were I a doctor, I’d prescribe it for patients as a cure for the blues (mental, not musical; blues music is great).  You can stream it for free at http://observerdrift.bandcamp.com, and you can get CD quality versions of the streaming tracks, and the final, order-only track, from that link as well.  As the line goes in the opening track of Ward’s first EP “Sometimes it pays for us to wait”.  And it certainly has with Fjords.