The Shins Live at Terminal 5

The Shins just completed a three-night, sold out run at New York City's Terminal 5 and I had the chance to catch the first show on Sunday, 4/29. They are currently on tour in support of their new album, Port of Morrow, which is the first Shins album in five years, and this is probably their first tour in just as long. I knew I was lucky when my girlfriend got through on Ticketmaster and got us tickets, especially since it came after the dreaded "Your wait time is 15 or more minutes" message. But, we got in, and fortunate we were to catch such an epic show.

We arrived at Terminal 5 at 8:45pm and the venue was packed, completely overflowing with people. The crowd was comprised mainly of mid-20-to-early-30-year-olds, which is what I expected. The best spot to see a show at Terminal 5 is on the floor, directly in the center, or as close to the stage as you can get. Obviously, this was hardest place to get to. We squeezed through the back of the floor crowd, and settled in right in front of the sound engineers. We had some space, it was a little difficult to see the stage, but that was expected. I did end up being able to catch occasional glimpses of James Mercer through bobbing heads though.

The crowd was eager with anticipation and full of energy and when the band came on at 9:10pm there was a loud roar. It was great crowd, very lively, constantly dancing and focused on the music. The Shins dove right in with the classic "Caring is Creepy" and the crowd responded gratefully, it was bliss. From that point forward the band blistered through the entire set of 16 songs, stopping briefly only two or three times for banter and to thank the crowd. They moved their way through material both old and new, playing the crowd-pleaser classics and every single song off the excellent new album.

At this point in time, The Shins are clearly James Mercer. He is the creative force, the lead performer, and the show was driven by his stage presence and sheer joy. He was beaming the entire time and played with gusto. Delicate acoustic numbers such as "New Slang" and "September" were heartfelt, done with grace and passion. Energetic guitar rock numbers like "Simple Song" and "Australia" echoed through the venue and thrived as live versions, filled with intensity and vigor. Mercer was in top form and seeing him belt out those melodies and play his own unique brand of guitar pop rock was a true delight.

The concert was a perfectly balanced selection of songs, there were a lot of high energy rockers and then a bunch of beautiful slow numbers to catch your breath. The supporting band was impressive and talented, perfectly creating the setting of music for Mercer's performance and making their way beautifully through intricate compositions with many layers. They were also joined by Haley Dekle and Amber Coffman of the Dirty Projectors who sang background vocals for a few songs, most notably a stirring rendition of "Phantom Limb." The light show was also well done, completely in sync with the music and adding to to the performance.

Here's a video of the outstanding "Simple Song" performance:

Mercer and his band made this show memorable, it was a transcendental experience, the music carrying you to another place, a happy place. It was a concert that sticks with you for a long time and makes you feel lucky you were there.

Setlist:
Caring is Creepy
Mine's Not a High Horse
Simple Song
Bait and Switch
Australia
Pam Berry
Phantom Limb
The Rifle's Spiral
Saint Simon
No Way Down
So Says I
It's Only Life
40 Mark Strasse
New Slang
Port of Morrow
Sleeping Lessons

Encore:
September (James Mercer solo acoustic)
Kissing the Lipless
One by One All Day

Alabama Shakes - Boys & Girls

Hype can be a dangerous thing, especially when it's loud and prevalent and has critics drawing comparisons to bands like the Black Keys and the White Stripes. That can be the perfect set up for a let down. But sometimes, the hype is well deserved and the band lives up to the praise and critical acclaim.

Alabama Shakes - Boys & Girls

The debut album from the Alabama Shakes is an in-your-face blend of enthusiastic blues rock and passionate Southern soul. Formed in Athens, Alabama, the band is made up of lead singer and guitarist Brittany Howard, guitarist Heath Fogg, bassist Zac Cockrell, and drummer Steve Johnson. They produce a strong brand of American rock and roll that at times sounds classic and at others sounds refreshing, always driven by Howard's gritty and powerful vocals and a straight-forward approach.

The band is riding their wave of hype and have blistered through the late-night TV circuit, the SXSW showcase, a sold-out tour, and were billed as the opening act for Jack White's spring solo tour. They've become renowned for their live performances, which are full of intensity and energy.

Their approach is noble in its simplicity. The two guitars churning out rock riffs, heavy drum rhythms, perfectly timed bass, and the vocals that shake the room are pure bliss. The album has soaring anthems such as the standout "Hold On" and slow moving, organ wailing, heartbreaking ballads like "Heartbreaker." The soul is perfectly apparent in the swinging rhythm and chorus of "Hang Loose" or the smooth flow of "Rise to the Sun." In it's entirety, the record moves at a steady pace and could be enjoyed in any setting. Hell, I even play this album at work for my coworkers as background music to the clicking away of keyboards and brainstorming meetings, and everyone loves it, no matter their musical preference.

Alabama Shakes' first album is something you could really sink your teeth into. The band is rough around the edges, real, and gutty. You feel the reverberations of Howard's singing and delight in the raw emotion of it. You sense the tightness of the band of the seamless, intertwining dance of the instruments. You say to yourself, "This album has spirit, it rocks." 

Album Highlights: Hold On, Hang Loose, I Ain't the Same, Goin' to the Party, I Found You

Morning Commute

On the way into work today, I needed something upbeat, but not too heavy. It was a nice day and the long week had worn me down, I needed music to propel me on my weary commute. I put on my headphones and with tired eyes I scrolled through my iPhone's music selection and found just what I was craving.  

Future Islands - In the Evening Air

Future Island's second full-length album finds the band in top form. The talented trio consists of Gerrit Welmers on keyboard and programming, William Cashion on bass and guitars, and Samuel T. Herring on vocals. The band originally described this album as "post-wave" after its release, and that seems like an appropriate genre for what they're trying to achieve. 

There are heavy 80s new wave influences here and most of the songs are driven by bouncing bass lines, looping synthesizer melodies, drum machine rhythms, and emotionally heavy vocals. The structure and presentation is simple, yet the music is subtly detailed, lush and playful. There's also clearly a theatrical element at work. There's a strong emphasis on storytelling in the lyrics and Herring takes the role and runs with it. He is dramatic, a true showman, constantly walking the line between over-the-top and grand performance. He has a unique voice and delivery, wordy and gritty. He sounds like an old-timey butler, complete with white gloves, top hat and monocle, soul sick from his years of service and lack of a real family. He sounds like Dracula, holed up in his Transylvania castle alone for centuries. He sounds like something from a far away time and place, and it works.

There are several stand-out tracks that illustrate the one-of-a-kind electropop storytelling that Future Islands produces. "Long Flight" is my personal favorite with its danceable rhythm, driving bass, and looping, stuck-in-your-head synth melody. The instruments create the perfect setting for Herring's vocals to wail and weave through the music. It tells the tragic story of an unfaithful woman who "Can't look me in the eyes anymore without the rivers to tend, because you remember our love was true but you just needed a hand." It's heartbreaking, angry, raw and energetic, an emotional roller coaster. 

The album as a whole is awesome, and a particularly great listen on headphones. This is a band that is carving out their own path and is formidable in their passion. I'm looking forward to catching them in concert because I'd imagine it adds an extra dimension to their theatrical music and would make for a powerful performance.  

Album Highlights: Long Flight, Walking Through That Door, Tin Man, Vireo's Eye, Inch of Dust, As I Fall

Remembering Levon Helm

As news broke yesterday that Levon Helm was in the final stages of his battle with cancer I was overcome with sadness. Levon's music has meant a lot to me. I would go so far as to say that Levon is one of the most important music figures in my life. In fact, I could make that statement with certainty.

I remember first getting into The Band. It was my freshman year of college and my friend Josh and I went to see Dark Star Orchestra at The Orpheum Theater. It was shortly after George Harrison died and in the encore they said some honorary words and dedicated the next song to the late Beatle, and then they proceeded to play The Weight. I had heard the song before, but it had never resonated with me like it did that night. Hearing it then was like a revelation. The melody and harmonies were so beautiful and the lyrics were so ambiguously profound. I returned to my apartment that night and immediately began my obsession with The Band.

Man was I obsessed. I collected the entire discography. I listened to Bob Dylan and the Band every minute, for the better part of three years. Just ask all my college roommates. The music was perfect, upbeat at times and slow at others, but always focused and soulful. The lyrics were meaningful, poetic, and insightful. It was all so good that it was heartbreaking. There was so much untapped material, such large collections, that every record was an exciting new discovery. After my Bob Dylan and The Band phase, music took on a whole new meaning.

Hearing Music From Big Pink for the first time was indescribable. Every moment of my life up until that point was meant for me to eventually hear that album and take in its lessons. That album was my religion for a time. The Band's self-titled album was Americana/Roots Rock that spoke to my soul, dragging out of me thoughts and ideas of a more simple, complete life. Every album, Stage Fright, Northern Lights/Southern Cross, Cahoots, Islands, this music was the greatest thing that ever happened to me. I watched The Last Waltz, easily the best rock film of all time, constantly. I would fall asleep to it after a long night of partying with friends. Neil Young and the rendition of Helpless, the Staples Singers doing The Weight in rehearsal, opening the show with The Night They Drove Old Dixie Down, all those performances were earth-shattering. Then here was The Basement Tapes. Wow. I can't even count how many times I listened to that double album, each time taking away more and more. To this day, I still say Bessie Smith is my favorite song of all time. All this music cradled my sudden freedom and independence at college and taught me how to live.

I remember visiting my first girlfriend at Penn State and incessantly playing Stage Fright. In her car, in her dorm room, just non stop. I remember singing Daniel and the Sacred Harp, every single verse of the four minute and six second song to my girlfriend's annoyance, while I showered getting ready for her sorority formal. When I first started my record collection, she bought me Stage Fright at a record store in Pennsylvania for my birthday. I remember crying while listening to It Makes No Difference after we broke up. Forcing myself to listen to the song again and again, my heart emptying with each play. I also remember listening to Before the Flood years later and, for the first time, feeling like I was actually over her.

I remember when Levon Helm first announced that he'd be playing a show at New York's Beacon Theater in 2007. He'd be playing two nights, one of which was on St. Patrick's Day. My friends and I had to go. At the time, I didn't know about Levon's battle with throat cancer and how he had recently recovered his voice. I didn't know how he had started playing these concerts, and doing his famed Midnight Rambles, to pay the astronomical medical bills he encountered during his treatment. I didn't know about how he wasn't sure of the reception he would receive playing live concerts again after such a long time. I didn't know how tired and weary he was. At the time, I just knew I loved The Band's music, I loved Levon, and I had to go. It was the best concert I ever saw in my life.

I can't totally put the experience into words, but I'll try to summarize. I couldn't stop smiling the whole show. He opened with (I Don't Want to Hang Up My) Rock 'n' Roll Shoes, and from there it was like a dream. Levon's voice sounded amazing. I mean, it was surprisingly good. We were shocked. There were upwards of 16 guest musicians that joined him on stage throughout the show. Dr John came out and did Such a Night. Warren Haynes came out for I Shall Be Released. Levon got up from his drum set at one point, grabbed a mandolin, sat on a bar stool in the middle of the stage, and sang Atlantic City. It completely blew my mind. Every musical guest in attendance, including Garth Hudson, came on for the encore and the whole crowd sang along to The Weight. When the house lights finally went up, the crowd began chanting "Lev-ON! Lev-ON! Lev-ON!" The stagehands and managers went up, got Levon, and brought him out for a true encore. This wasn't planned. It was the only true encore I've ever seen. The smile on Levon's face was something I'll never forget. He was emotional about the outpouring of support and went on to thank a lot of people, and a lot of doctors, for allowing him to be there on that night. I'm so grateful I got to see that show, and still think about it often. It was special. If I never saw a concert again, it would be ok, because I was at the Beacon Theater on St. Patrick's Day 2007.

After that show, my friends and I made it a point to see Levon every time he came around, and we did. We must have seen him play 10 more shows after that. Unfortunately, the quality of his voice disintegrated exponentially with every show we saw. By the final time we saw him, he could barely be heard or carry a note, and he only attempted to sing three songs. It was sad, but he still played with the same joy and energy and it was a fun show nevertheless.

I remember December 4th, 2010. I had a date with a girl named Elyssa. We met for dinner and immediately bonded over our love for The Band, especially The Last Waltz. We both talked about what that music meant to us and how it's affected us. Time passed and we spent every moment together, The Band constantly playing in the background. We listened to the Last Waltz together late at night. We danced in my apartment to The Band's records. I eventually took her to see Levon perform in New Jersey, and that was where she first met one of my good friends, Dave. That was the final time I got to see Levon perform. We recently celebrated Elyssa's 25th birthday and it was requested that the house band of the bar we were at play The Weight, her favorite song. It was The Band's music that began the deepest connection I've ever had with someone in my entire life.

Music is the most important thing in the world to me and Levon Helm is the most important music figure in my life. Aside from his amazing, prototypical American rock 'n' roll voice, his steady, brilliant drumming, and his joyous energy, he's influenced my life in ways that have shaped my existence. His music has guided me, consoled me, been a soundtrack to my happiness, made me think, and made me dance. I can't thank him enough.

Rest in peace Levon. My world was a better place because of you. I look forward to hearing you sing and play drums when I get to where you're going.

Live From New York... It's Your Computer

Last night, Of Monsters and Men played a concert at the Music Hall of Williamsburg. I didn't have tickets. I stayed in, sat on my couch in my sweatpants, and simultaneously watched the Knicks and the Dodgers games while eating Indian food leftovers. A typical relaxing Thursday night in April.

Oh, I also was able to catch a good part of the Of Monsters and Men show.

How is this possible? Well, The Bowery Presents broadcasted the show live on youtube. They've done this for a lot of bands. Other companies have been doing this too. My favorite band, The National, broadcast a live show from the Beacon last year. I know a bunch of Phish shows were broadcast over the internet last year as well. I even had a few Phish-head friends that had "Couch Tour" parties.

I knew very little about Of Monsters and Men. They're a six piece indie folk rock band from Iceland. Most of the members play multiple instruments and the music is pleasant with a strong, lively energy. They reminded me a lot of Arcade Fire, but with more polished pop vocals. Their debut album, My Head is an Animal, was released on April 3rd of this year. It's an upbeat, joyous album that is perfect for spring/summer. I had only heard a few songs and I was curious to see how they would sound live and what kind of stage presence they had, so I welcomed the opportunity to watch them live online.

Watching the performance on my computer was cool, but it brought up conflicting emotions. While the technology that allows this type of accessibility is amazing and being able to watch a concert from the comfort of your own couch is awesome, clearly the majority of what I love about the concert experience is lost.

The experience of going to a concert is something that is almost sacred to me at this point. The energy from the stage and the crowd, the music that often reaches deafening volume, bumping into people while dancing, the smells and sights and lights, feeling the music within every bone, a frenzy of sound rattling through your body, all of that is transcendental. Of Monsters and Men definitely put on the type of show that exemplifies this notion perfectly, and it's all lost by watching it on the computer.

That's not say it's not enjoyable, it is, but it should never be mistaken as being the same or a suitable replacement. Yes, you save money, and yes, it's great for when you don't want to leave the house, but it needs to be seen as a distinctive, unconnected experience to the concert itself.

That's how I felt while watching the performance. I did like it very much, but there was nothing in the video to signify that I was watching a live show and not a recording. Clearly, I can't get to every single concert I want to see and I'll certainly take the opportunity to watch some of those concerts online when the option presents itself, and I'll be thankful it's possible. But the experience is akin to watching any other previously recorded concert video on youtube.

Ah, new technology and the conflicting emotions it brings. Oh well. Here's a clip of Of Monsters and Men performing their hit single "Little Talks" for KEXP:

Vinyl I've Purchased

Sometimes, you just need to let out the raw emotions, to release your energy with elbows and knees akimbo, to crank the volume up and jump around your studio apartment like a madman in your own personal mosh pit of couch pillows and throw blankets. This is necessary on some days. It might bother your neighbors, but it's necessary nonetheless. They'll understand.

Here's the vinyl record I recently bought for those occasions:

Cloud Nothings - Attack on Memory

Cloud Nothings is the creative outlet of a Cleveland man named Dylan Baldi. An enigmatic figure, he's been writing music since 2009, taking the do-it-yourself lo-fi approach. With Attack on Memory, he's achieved something remarkable. This album is a blissful statement about liberation through music. This is passionate grunge/punk/garage rock with catchy hooks and emotive lyrics. It is raw and energetic and it runs an intense 30 minutes.

Now this isn't one of those grunge/punk albums where every song sounds the same. There's a variety to the tracks. Sure, there's a good amount of screaming vocals, but there are also beautiful melodies and those catchy pop hooks that focus and ground the songs. All backed by excellent guitar work, complicated and furious drum beats, and driving bass lines.

The opening track, "No Future/No Past," sounds nothing like the rest of the album. It begins slow and the vocals build up until Baldi is screaming over the music, but it keeps its steady and slow tempo throughout. "Wasted Days" is almost nine minutes long and undergoes extreme changes as it moves forward. It starts off with pop melodies and an appealing guitar riff, but then moves into a furious, disorienting, psychedelic jam as Baldi repeats the haunting chorus "I thought! I would! Be more! Than this!" Then there's "Fall In," a pop punk song with a catchy chorus and a dynamic rhythm moving the verses forward. It sounds like it could've come from the catalog of The Thermals. "Separation" is a blistering instrumental track with no vocals that absolutely flies by at a frenetic pace. The album standout, in my opinion, is the indie rock tune "Stay Useless." Slightly lighter than the rest of the album, but compact and sharp with a beautiful melody in the anthemic chorus. 

Attack on Memory is a powerful album, youthful and full of life. It may be heavy at points, but don't let that scare you away, it's extremely accessible and packed with fine, euphonious melodies. It's not something I would listen to when I first wake up or while I try to fall asleep, but I would definitely listen to it in the shower before a night out, or, as I detailed before, when I need to let off some steam. Sorry neighbors.

Album Highlights: Wasted Days, Stay Useless, Fall In, No Future/No Past

Heartless Bastards - Arrow

My friends Josh and Nick told me about Heartless Bastards a few months back. I listened to a several tracks off their previous albums The Mountain and All This Time. I liked what I heard, an American rock band with roots in blues, country and hard rock, driven by Erika Wennerstrom's powerful lead vocals and sharp songwriting. Then I heard the new album a few days ago and immediately became a big fan.

Heartless Bastards - Arrow

This is rock 'n' roll. On their fourth full-length album, the Heartless Bastards have trended away from the bluegrass, ditching the fiddle, pedal steel and banjo, and have focused on guitar, vocals, and rhythm to produce pure, straightforward blues rock. A heavier sound than their previous efforts, there's more open space for guitar riffs and for the rhythm section to do a little exploration within the steady grooves. The album is a modern feel to Southern rock and they achieve perfection on several tracks. It's completely refreshing and a definite step forward for the band.  

Wennerstrom's voice is bluesy and tough, and it fits perfectly with the music on this album. She's a powerful singer with a lively energy and presence. I would love to catch a show of theirs on an upcoming tour, because I imagine it's a great concert.

The album as a whole has it's ups and downs. Some songs are absolutely rockin' and highly enjoyable. The standout is "Parted Ways" with its swaying rhythm, catchy melodies and an excellent hook in the chorus. Wennerstrom's voice really shines on this track. It makes an awesome late-night bar song for sure. "Marathon," which opens the album, is a nice ballad introduction that eases you in. "Only For You" possesses a bouncy drum beat that is highlighted by Wennerstrom's voice punching with the timing and rock guitar riffs that play throughout the song and come out for rhythmic solos. "Got To Have Rock And Roll" is the heaviest track on the record and it really gives its title meaning.

However, "The Arrow That Killed The Beast" rambles on at a slow pace for a little too long. Same goes for the closing track, "Down In The Canyon." The track "Late In The Night" can come across as a little cheesy, although that doesn't make it horrible, it does have a great guitar solo towards the end. It's just one of the songs that I probably won't mind skipping in future listens, but maybe it will grow on me.

Arrow does certainly have way more positive moments than negative ones, and several songs are truly outstanding. As I said earlier, this album has officially made me a fan of the Heartless Bastards and I can't wait to catch their live act.

Album Highlights: Parted Ways, Only For You, Got to Have Rock And Roll, Low Low Low

Magnetic Fields at the Beacon Theater

I had the chance to see the Magnetic Fields perform last night at the Beacon Theater in New York City, one of two scheduled performances at the renowned venue. They're touring in support of their new album, Love at the Bottom of the Sea. I'm a fan of their music, I especially love the albums Charm of the Highway Strip and 69 Love Songs, but going into the show I wasn't completely familiar with their extensive catalog. I know those two albums well, and I've heard snippets of the new album and a few other popular older songs, but they have been producing music since 1990. I had no idea what to expect.

Frontman Stephin Merritt is the force behind the band. He writes, produces, and sings most of the songs on the album. He has a strong and steady baritone voice. The music is unique, it can be described as indie pop combined with alternative underground rock, containing some country and electronic influences and elements. The songs are all soft, pleasant and warm. They're concise and structured around beautiful pop melodies and hooks. There's a certain uncommon element to the timing of the hooks, it's hard to describe but wonderful to hear. The lyrics are eccentric, romantic and reflective, often humorous, and there is a strong emphasis on this throughout all of their work.

The band came on stage at 9:15pm and was comprised of five members. Cladia Gonson on piano and vocals, cellist Sam Davol, guitarist John Woo, Shirley Simms on ukelele and vocals, and Merritt on melodica. Before the music began, Merritt joked with Gonson about her flowers and how they need to be removed from the top of the piano. "I won't be paying for that Steinway... or Yamaha" he joked. A stagehand came on and placed the flowers front and center on a rug. This set the tone for the entire performance.

This was less a concert and more a recital. The entire audience was seated and captivated the whole show, sometimes laughing at the playful lyrics, but mostly quiet for the music. The band made their way through 27 songs, including the two song encore. They played a lot from the new album and plucked all the rest from their full catalog, even going back to their very first album for one track. Gonson, Simms and Merritt all took turns singing, sometimes harmonizing together beautifully, such as on the standout "Plant White Roses." The material is romantic and slow paced and the performance was elegant. The string instruments were especially graceful and their mingling with the piano was exquisite.

There was a lot of stage banter. Most of the songs got introductions, sometimes humorous quips or sarcastic comments. My favorite line from the show was when Merritt said, "I was once asked by a journalist about sincerity. I told him, do you really think that Mick Jagger couldn't get any satisfaction?" The crowd laughed and the band then played "You Must Be Out of Your Mind." When the show ended and the lights went up "Satisfaction" could faintly be heard over the loudspeakers as everyone made their way to the exits.

Here are several videos of the show that my girlfriend and I took using our iPhones:

All in all it was a gracious and refined performance that was very satisfying. I enjoyed every single song, despite not knowing about 50% of the tracks played. Saying this, I believe that seeing them once is probably enough, at least for a long while. You get the gist of their performance style and the music they play with one show and their albums don't really vary enough to be surprised by a new sound or tempo. It was an excellent concert nevertheless, and I'm glad I had the chance to see them play.

Setlist:
I Die
A Chicken With Its Head Cut Off
Your Girlfriend's Face
Reno Dakota
Come Back From San Francisco
No One Will Ever Love You
I've Run Away to Join The Fairies
Plant White Roses
Drive On Driver
My Husband's Pied-A-Terre
Time Enough for Rocking
The Horrible Party
Smoke and Mirrors
Goin' Back to the Country
Andrew in Drag
Quick!
Busby Berkeley Dreams
Boa Constrictor
The Book of Love
Fear of Trains
You Must Be Out of Your Mind
Grand Canyon
Swinging London
It's Only Time
Smile! No One Cares How You Feel (The Gothic Archies cover)

Encore:
Tar-Heel Boy
Forever and a Day

Under the Covers

Singer and songwriter Mark Kozelek, most famous for his bands Red House Painters and Sun Kil Moon, has delivered radiant acoustic guitar ballads with profound, heartbreaking lyrics. His ghostly voice sings melodies that float over the music. He is an intuitive and insightful songwriter who has a firm grasp on his craft. There is a stunning emotional depth to his material, it is evocative and sentimental.

Kozelek has a gift for covers. In particular, he has a knack for taking a rock song and re-imagining it and striping it down to an acoustic version that brings out the poignancy in the lyrics. The songs are often drastically re-interpreted and sung at a different pace, turning upbeat rhythmic songs into delicate acoustic ballads. First, he released What's Next to the Moon, which was an album made up entirely of Bon Scott-era AC/DC covers. Then he released an album entitled Tiny Cities which was made up of 11 Modest Mouse covers taken from all of their albums up until Good News for People Who Love Bad News. Tiny Cities produced this gem:

Sun Kil Moon - Neverending Math Equation

I absolutely love this rendition of the Modest Mouse song. Completely different than the original, it works as a standalone. A soothing work with beautiful melodies. I especially like the ending, with finger-picking guitar and change of tempo. Perfect for a solo drive on the highway with the windows down. 

Grimes' Haunting Visions

Grimes - Visions

The debut album from Grimes entitled Visions is a sweeping, brooding, heavy electronic album that fully embraces the new technology that allows solo do-it-yourself digital music to exist. The one-woman project is the creative musical output of Canadian Claire Boucher and it is at times beautiful and at other times overwhelming. She has a talent for using electronic effects and puts all aspects of her music through the digital loops and processes to create her songs.

Boucher's sweet, child-like voice sounds distant as it travels through the atmospheric soundscapes and bounces off the drum machine rhythms. She loops her voice, layers it, and then throws effects on it, you don't really know where it's coming from. The album has great melodies throughout, anchoring it, and infectious pop beats and styles. There are a ton of influences at play here, but the end-result, the experimentation, focus, and cohesiveness of such an ambient album is refreshing and sublime.

What originally got me into this album was the youtube videos I saw of Grimes performing live for KEXP. To see this small girl seated by herself on the floor with a keyboard, a few microphones and a slew of electronic effect boards and to watch while she creates this lush, large, and provocative music is impressive. Videos below:

Visions is an album that's very listenable, despite it's uniqueness and cutting-edge sound. Put it on and allow certain songs and melodies to grab you. It's particularly awesome on headphones.

Album Highlights: Genesis, Infinite Love Without Fulfillment, Symphonia IX (My Wait is U), Nightmusic