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Tiger Saw are from Newburyport, Massachusetts, or, at least, that's where they began. After writing most of their debut alone in Los Angeles, Dylan Metrano brought those songs home to Newburyport, where he found like-minded souls to help him bring those creations to life. In listening to their records, it seems he found more along the lines of kindred spirits who were lying in wait for this sound to come along. It is not a wholly original sound (are there any of those anymore?), as Tiger Saw play primarily slowcore music in the vain of Low or 27. But it is a new twist, as most songs possess a jazz structure, but a rock-like instrumentation. And it is a lovely listen.
Kimchee
"Blessed Are the Trials We Will Find" is Tiger Saw's sophomore release after their self-released 1999 debut. The songs found here will appeal to you because of their sheer beauty, and the strong ensemble that performs them. The duel-vocal syrup of Juliet Nelson and Metrano is a perfect complement to the instrumentation, mainly guitar and drums, but with occasional strings, organ, and even melodica thrown in for good measure. The thing that stands out the most, though, is Metrano's lyrics, which, thankfully, never seem to rest on one particular subject or genre. True, he does write of relationships between people more than once on "Trials," but he also writes of being lost at sea, and of being alone. And you know instantly what he speaks of, and where he's been. It's that familiar in listening. The two instrumental tracks also show off the versatility of the band, and the comfortable way the have with their instruments. Also included on the CD is a video for a beautiful song called 'Nightingale' that is quite well done. Check out Tiger Saw: you'll be glad you did. -
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Last year we got the ultimate party album courtesy of the Avalanches.Well, summer's on the way, and that one was played to death last year.Still great, but time for something new. So, Soulwax, show us whatyou've got.
Belgian band Soulwax, previously known as the rockers behind lastyear's minor hit 'Much Against Everyone's Advice', have thrown thekitchen sink into this mix tape, and some of the parts have got jumbledup. So, where Skee-lo and the Breeders are listed together, they aretogether. He raps acapella over a Cannonball instrumental. Shouldn'twork, but does. Ditto Basement Jaxx shouting over Emerson, Lake andPalmer, or Salt N' Pepa calling on us to 'Push It, Push It real good'to the strains of Iggy and the Stooges. We also get Destiny's Childdoing the 'Independent Women' thing with 10cc's mellow 'DreadlockHoliday' in the background. You may be wondering what an albumfeaturing Kylie Minogue, Destiny's Child and Basement Jaxx is doinggetting a review in the Brain. Well, this particular album alsofeatures the Residents, the Velvet Underground, Adult and Peaches. Andit blends Dolly Parton into Royksopp, which can't be bad.
Don't know how they got copyright for all this, but they did, sometimesthrough licensing cover versions, or sampling samples (MichaelJackson's 'Billie Jean' slips through the net on this technicality,using a dance record which samples the original).
Basically, this album is enjoyed in two stages. First listen or two,you're comparing the new 'versions' with the originals, and sniggeringaway at how wonderfully post-modern the whole thing is. But soon you'rejust tapping your foot, and calling your friends around. It's just tooinfectious, too catchy, it puts too wide a smile on your face not tolove it.
Summer's here. Don't worry, your Low records will still be there in theFall. For now, to quote a (surely copyrighted) drink's company's slogan- Let the sun into your spirit.
Further info on the tracks used, and copyright/licensing difficulties is at www.2manydjs.org -
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Mark Nelson has shed some layers for the latest full-length release as Pan•American. No longer is he trading tapes with friends like the first or recruiting other players to guest like the second album. Much like the last Labradford album, this time it's all him. For those who have been following his career with the various singles and compilation track contribututions, the sound should come as no surprise. The influence from various other "micro-house" type people can be felt as there's more non-musical outside sounds like underlying electronic hiss, clicks and pops. What separates Nelson from the rest of the crowd is his undeniable talents as both a great musician and composer. Despite the overall quiet nature of the disc, his subtle synthetic organ melodies are lush and involved, inviting and even sexy. I'm almost embarassed to admit that 'The River' makes for a great record to underscore quite a romatic evening to. While many other uses can include schoolwork, housework, or quiet time, it is a fascinating album to completely tune the world out and zone out to. Yummmm.
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Somewhere, right now, indie rock kids are overjoyed beyond belief listening to this record. Why? Because Go Back Snowball is a project by two men that they readily worship for the music they release with their full-time bands. And people have often wondered in conversations at coffee shops and record stores what it would be like if they actually made a record together. The wonder is over, as Bob Pollard and Mac McCaughan, of Guided By Voices and Superchunk/Portastatic respectively, have joined forces for "Calling Zero." And it's almost as good as you'd expect it to be.
Pollard is a king of melody, often showing fantastic ability on GBV records in finding a vocal line where no one in their right mind could. And McCaughan is the master of instrumentation, writing triumphant indie rock with Superchunk and playing all the instruments in his quirky but solid side project Portastatic. The genesis of this record is reportedly like that of Pollard's recent Airport 5 collaborations with Tobin Sprout: McCaughan records all the music and sends it to Pollard, then Pollard has free reign with it for vocals and lyrics. And the results are certainly a good sign of what is possible here, and a worthwhile listen to be sure. But it's far from perfect. Primarily, the problems here are due to the arrangement that spawned the collaboration in the first place. Pollard is at the mercy of whatever music McCaughan gives him, and there are a few tracks here where you can almost picture the elder statesman saying "What in the hell can I do with THIS?!" ('Again the Waterloo') Pollard is, in his own right, a fantastic songwriter, and I think the results would have been that much more dynamic had they actually wrote some songs together and recorded them in the studio together, not a reasonable facsimilie of it. And the lyrics are classic Pollard, which is both a good and bad thing. He's shown such growth and maturity on the past two GBV records in his lyrics, so why does it seem he's going out of his way to be oddball again here? ('Throat of Throats': 'Vultures looping through fiery hoops/In third dimension jumping suits') It sounds just like you'd think, though: Pollard fronting Portastatic. If that sounds like something you'd like to hear, try it on. It really is a great record, and I hope they collaborate again. Given the prolific nature of both men, it's certainly possible. But please, gents, next time sit in the same room with each other a few times first? -
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