I’ve been training for a half-marathon since August, and I now only have two more training runs before the 13.1 miles of something-vaguely-akin-to-glory transpire. My interest in running music has been directly proportional to the increasing length of the runs, which is one of the reasons IC readers are treated to the RunHundred top ten list every month. I haven’t jumped into the continuous mix boat yet, but Kitsuné Maison’s 12th compilation The Good Fun Edition is pretty close to one.
Kitsuné is an interesting story in itself: it’s a record label, music magazine and fashion store all at once, in addition to putting out compilations of electronic/dance music. The label roster boasts the excellent Two Door Cinema Club, as well as IC new faves Is Tropical. (Neither appear on this particular compilation, sadly.)
But plenty of other great tunes fill out the fifteen-track compilation: “Goose” by The Cast of Cheers takes a profoundly post-punk angle on dance music, providing a Bloc Party-esque indie rock extreme to the compilation. “Record Collection 2012 (Plastic Plates Remix)” by Mark Ronson and the Business Intl. and “Let’s Work” by White Shadow form the extreme end of the dance spectrum, as both are essentially clubby beats and melodies with minimal lyrics (and song structure) provided.
Tons of different angles on dance music fall in between those, like the Phoenix-goes-house genre mashup that is “Excuse Me” by Lemaitre (easily the most infectious track on the comp, as well as the most baffling). “Zimbabwe” by New Navy is all up in that post-disco/hipster-world-music groove. MuteMath is checking its discography to make sure it didn’t write “Closet Anonymous” by Man Without Country. There’s plenty of ’80s-inspired stuff, if you’re into that—although none of it reaches the transcendence of Chad Valley’s work.
If a good compilation is supposed to sound like a radio station that you don’t want to change, Kitsuné’s The Good Fun Edition is working exactly as it should. I expect nothing less from the compilation series that helped launch Icona Pop, although I don’t hear anything as immediately arresting as that find on this version. Still, the overall effect of the comp is impressive; you could leave this in your car and spin it for a long time without getting bored. And “Excuse Me” will most likely never get boring.
I’m already starting to spread the word on Pete Davis’ The Pottsville Conglomerate, because it’s 95 minutes of awesome. Because it’s the length of 3ish albums and 6ish EPs, it’s gonna take a little longer than usual to review. But fans of Sufjan’s most bombastic moments should start listening to it now.
In lieu of a review, here’s a stunner of a video from Archer Black, for “Onward and Down.” I love videos that tell a story, and this one’s simple but powerful. The song is also incredible, like Beirut channeling The National.
The members of Built by Animals are either oblivious or completely subversive. The songs on this self-titled EP and the accompanying art absorb or pilfer everything possible from other bands and re-appropriate. The end product of a less talented band would simply be annoying and derivative. But the Brooklyn-based members of Built by Animals are talented, and the four songs shine all the more because of their total hipsterdom or hipster mockery (and I’m leaning toward believing it’s the latter).
Built By Animals’ guitar-based indie-rock is a mix of Phoenix’s herky-jerky melodies and the hyperactive guitar strum of non-First Impressions of Earth Strokes. They aren’t trying to do anything new; they just do it well. The bridge in “Teenage Rampage” has the type of melody and counterpoint that the rest of the song has lead me to want. When they finally drop in the riff, it feels right and satisfying. That’s solid songwriting.
The band is composed of talented musicians, as well as talented songwriters. Bassist Nick Crane shows off his impressive chops with speedy runs in a particularly bouncy section of opener “Return to the Power Kingdom.” The mathy-yet-melodic counterpoint that guitarist Morgan von Ancken intertwines makes “Return to the Power Kingdom” one of the best tracks here. Crane also flexes his melodic muscle in the bass solo (!) in “Ducks.”
The band shows they know how to build tension with the aforementioned “Ducks,” and they show they can make a subdued tune with the Red Hot Chili Peppers-esque “Spreadsheets.” The dry vocal delivery deserves praise on “Spreadsheets,” as it sticks out in a pleasing way.
It’s hard to pick out specific reasons for why I like Built by Animals’ self-titled EP so much. They’re not doing anything even remotely groundbreaking, but they knock the songs out of the park. Their tunes are energetic, melodic and smile-inducing without being saccharine or pandering; it’s hard to knock a band that can pull that off. I eagerly anticipate what Built by Animals will do next; they’ve established a solid foundation and can go in many directions. Onward and upward! For fans of Phoenix, Strokes, The Cribs, Bishop Allen, and other New York guitar-rock bands.
Stephen Carradini and friends write reviews of instrumental music. We write about those trying to make the next step in their careers and established artists.