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Tag: Laura & Greg

Quick Hits: Laura and Greg / The View Electrical / Dan Webb and the Spiders

foreverforsure

The acoustic guy/girl duo is an old, old form, but the beauty of intertwined vocals almost ensures that it will never fall out of use. Laura and Greg‘s Forever For Sure lives happily and easily inside the bounds of that genre, delivering chipper, charming indie-pop songs. The easiest comparison is the Weepies, with whom they share a predilection for precise, staccato rhythms and stark framing of individual melodic elements. But where The Weepies are titularly mopey, L&G are more sprightly in tempo and mood.

While opener “Muscle Memory” and the title track make use of wistful guitar and fragile voice, tracks like the handclap-laden “Pennies” and the woozy ’50s charm of “Fireflies” evoke the enthusiasm of Mates of State. “Undertow (water waves)” is a strummy tune that draws off some country vibes, even. But it’s in their intimate moments that they shine brightest: “Same World” is a joy to behold, with their two beautiful voices blending and swirling over a meticulously picked guitar. Muscle Memory is fresh, vital, and warm, the sort of work that makes you forget about the difficulties and injustices of life for a while. Who doesn’t want that?

roseland

On the other end of the spectrum from Laura & Greg in the indie world is The View Electrical, a dreamy band that can drift around calmly or ratchet up to post-hardcore thrashiness (complete with screaming).

The trick they pull off in Roseland is making all of their motion feel seamless: opener “Haunted by a Dream” turns a cascading acoustic guitar line into a lead guitar line by lifting it in the mix above groove-laden drums, treble-heavy pad synths, and grumbling bass. Within a few more seconds it has exploded into multiple vocal lines (including a scream) before closing. They may throw the kitchen sink at this record (the second song opens with a glitchy electro-pop clicks, the third with four-on-the-floor dance-rock beats, the fourth with delicate acoustic picking), but the strong engineering job and distinct vocal approach keeps this from being a mishmash.

Where the mixing pulls out all the stops to lend coherence to the sound, the vocals float along blithely, seemingly unconcerned by the herculean task that they’re given. Leading a band with the ambitions of The View Electrical is not easy, but the vocalist does it. My favorite of his approaches is somewhere between Surrounded’s whisper-singing (“Haunted by a Dream”) and Sigur Ros’s aria-esque delivery (“It Was Time”); it’s airy but grounded, breathy but solid. It ties together the many parts of The View Electrical’s sound neatly. Even when a more direct tonal approach is called for in songs, the singer seems to corral the disparate parts of the sound and marshal them in the listener’s defense.

Towards the back half of the album things get a little more straightforward and aggressive. “Death and the Young Man” is laden with aggressive beats, dropping out the lightness of the first few tracks; “In My Defense” and “Protect Us” are dissonant and heavy. Still, even in tunes as minor-key and ominous as “Protect Us” there’s a break from the gloom in the way of a dreamy guitar layered on top. The band returns to the Surrounded-esque rock/dream-pop by the end of the record, showing the minor-key sections to be part and parcel of their omnivorous approach: the thrashy, post-rock/post-metal moment of “We Won’t Stay” is dropped right into the middle of one of their most beautiful (9-minute!) songs. It’s similar to how Sigur Ros uses heaviness, but that doesn’t make it feel any less impressive or unexpected.

Roseland is an extremely ambitious record that succeeds on many levels. If you’re into thoughtful music that doesn’t bother with labels (indie-pop, indie-rock, electro, post-rock, post-metal), you’ll get a lot of listens out of this record.

danwebb

I’ve sung the praises of pop-punk many times before (including quite recently); still, it’s moved into a legacy spot in my heart. I cover the occasional single and video, but covering full releases is rare these days. But you can’t leave your sonic or physical friends behind (isn’t this the moral of all early 2000s pop-punk/emo?), and thus I’m here to tell you that Dan Webb and the SpidersPerfect Problem is rad. If you’re into snare-heavy pop music with enthusiastic melodies and excess adrenaline played very loudly, you should look it up.

Perfect Problem hits right in my sweet spot: pop-punk that has enough meat to not sound like an airy pop-rock tune a la Boys Like Girls but enough melodic bonafides to stay away from ragged hollered/screamed vocals a la the Menzingers. Even the tougher vocal performances here (“Night Games,” “The Neighborhood”) rough up the tone a bit but never sacrifice a charming melody or ubiquitous, spot-on high harmony. Even crunchy songs like “Moment,” which was recorded by inimitable Steve Albini, balance the brittle distorted guitar chop and thundering back-line with other generic influences: there’s a ’50s-pop influence in the rhythmic patterns, guitar solo, and soaring chorus vocal line. It’s these subtle influences and recording flourishes that give this a volume and depth separating it from streamlined, radio-friendly pop.

The highlight is the title track, which combines all of the best parts of Dan Webb’s sound together: infectious melodies, charging guitars, harmonies, and an upbeat vibe. If you’re into pop-punk with just the light scrubbing of grit, Dan Webb is on your team.

Bits and Bobs: Acoustic April

Bits and Bobs: Acoustic April

1. “Winter is for Kierkegaard” – Tyler Lyle. There are few things that get me more than a earnest tenor singing way too many words over a folky arrangement. Lyle plays somewhere between Josh Ritter, The Tallest Man on Earth, and Gregory Alan Isakov.

2. “Resolution” – Young Legs. The world always needs more quirky, delightful indie-pop on a strummed banjo.

3. “The Fall” – Reina del Cid. Warm, fingerpicked acoustic guitar; brushed snare; stand-up bass; contented alto vocals–it sounds like all the bits and bobs of a country song, but del Cid turns it into a charming folky ballad.

4. “Forever for Sure” – Laura & Greg. The gentle, easy-going guitar and male/female vocals create an intimate vibe, while a mournful instrument in the distance creates a sense of spaciousness. The strings glue them together–the whole thing comes off beautifully. I’ve likened them to the Weepies before, but this one also has a Mates of State vibe.

5. “Touch the Ground” – The Chordaes. Dour Brit-pop verses, sky-high falsetto in the sunshiny, hooky chorus–the band’s covering all their bases on the pop spectrum. That chorus is one to hum.

6. “Inside Out” – Avalanche City. My favorite Kiwis return not with an Antlers-esque, downtempo, white-boy-soul song. It’s not exactly the chipper acoustic pop of previous, but it’s still infectiously catchy.

7. “Bad Timing” – The Phatapillars. If Jack Johnson’s muse was outdoor camping and music festivals instead of surfing, he could have ended up like this. For fans of Dispatch and old-school Guster.

8. “Tapes” – The Weather Station. Sometimes trying to describe beauty diminishes it. Let this song just drift you away.

9. “ Forest of Dreams” – Crystal Bright and the Silver Hands. The Decemberists have largely gone standard with their arrangements, but there are still people holding it down for klezmer arrangements of gypsy-influenced melodies mashed up with the occasional operatic vocal performance. It’s like a madcap Beirut or a female-fronted Gogol Bordello.

10. “Heavy Star Movin’ – The Silver Lake Chorus. Written by the Flaming Lips for the choir (which operates in a very Polyphonic Spree-like manner), it’s appropriately cosmic and trippy. Strings accompany, but nothing else–the vocals are the focus here.

11. “Emma Jean” – WolfCryer. Here’s Matt Baumann doing what he’s great at: playing the storytelling troubadour with an acoustic guitar and a world-weary baritone.