Rain Machine - Give Blood

It has long been my opinion that everything TV On The Radio does is awesome. But since the self-titled debut release of lead singer Kyp Malone's solo project, dubbed Rain Machine, I've had to update that to include everything even associated with the band. It's been a while since I've heard an album as strikingly original and unapologetically raw as this, and the only reason it's not at the top of the charts (yet?) is directly as a result of these qualities. I guess some people just can't handle unrestrained emotional expression, even in musical form. If you want to be moved by music, though, this is the way to do it.

Rain Machine - Give Blood


While I chose the leading single (and also the catchiest track) to share with you, dear friends, it's impossible to do justice to this album by limiting myself to one song only - there's just so much more going on. Each song to me seems to represent a distinct set of emotions, and in such a way that they are at times strangely familiar. The trumpet-like guitar in "Hold You Holy" resounds with triumphant love, while Malone's s swooping falsetto in "Winter Song" speaks of freedom and happiness. "Love Won't Save You" is desperately bitter, with vocals that sound more painful with each repetitive cry of the title. It's the most intense song on the album, and also the most difficult and yet captivating to listen to. On another level entirely, the primal beats and rough, jagged guitar sound of "Give Blood", along with the frenzied chanting of the song's title, give it a wild energy that is worthier of a tribal trance than a dancefloor, but would work pretty well in either setting. A little over two minutes in, Malone lets loose a scream that is almost animal before launching into another explosive verse. Dude clearly isn't fooling around here.


Malone's distinctive command of guitars both electric and acoustic is masterful, but what really strikes me about this album is just how unique Malone's voice is. While it fits in perfectly with the TVotR material, the huge sound of their music often makes it difficult to listen to the vocals alone among all that beautiful noise. With Rain Machine, however, the music is stripped down to a much more intricate level, allowing Malone to experiment more with the sound of his voice. The results are simply astounding, showcasing the incredible control he has over what is a truly unusual vocal style.

Cover art, drawn by Malone himself

In all, Rain Machine not only gives me a new respect for Malone as a solo artist, but also makes me appreciate TV On The Radio's music even more. It's a really great insight into an important part of their music that comes from Malone himself - and it's no wonder that, with so much musicality evident in just one member of the band, their collective efforts are so mindblowing. Perhaps a few other solo projects are in order...

Just remember...you heard it here first.

Final Fantasy - This is the Dream of Win & Regine

The violin was the first instrument I ever learned to play, and out of the multitudes I've heard and the few more I've come to play since, a beautifully-played violin still remains one of my favorite sounds to date. The fact that the violin is still a predominantly classical instrument often limits its use in more contemporary forms of music, but it's really great to see an example of the instrument being used in exactly that way. Final Fantasy, a.k.a. Owen Pallett, composer and long-time Arcade Fire collaborator, is one of the best violin-based projects I've heard.

Final Fantasy - This is the Dream of Win & Regine


Before you ask - yes, the name of the project is based on the video game series, and the title of the track refers to Win Butler and Régine Chassagne of Arcade Fire. Simplicity, not subtlety, is clearly the emphasis here, and that intention is also present in the music. It's very minimal, dominated by Pallett's violin and voice and backed only by quiet drums and laid-back 'filler' instrumentation. 'Childlike' might even be a good description, but far be it from me to suggest that this song is childish. On the contrary, it's the childlike honesty of the music that helps it to communicate a very mature and personal mix of emotions. The recurring violin melody in particular, which effectively takes the place of a chorus, is uncomplicated and unassuming, yet sublime, complementing the vocals perfectly.

Pictured: not Owen Pallett

Although the title gives away the identities of the characters who effectively speak in this track, without it the lyrics could be referring to anyone who has experienced the fickle fortunes of stardom. The way these words are sung, as if by a small voice in the back of your head, are just brilliant in the way they convey this message. Whether or not you've ever experienced such an internal conflict, this track, at least to a certain extent, makes you feel like you have.

If that's not a mark of a great song, feel free to tell me what is.

Mumford & Sons - Little Lion Man

Once again, I may well be accused of jumping on the bandwagon with this one (that pun never gets old), but I can't avoid the fact that this is the best song I've heard in months, if not the whole year. Mumford & Sons, an indie-folk quartet from London, came out of nowhere earlier this month with their debut album Sigh No More, and quickly became one of the most talked-about bands in the world - and for all the right reasons. This is a band well worth your attention.

Mumford & Sons - Little Lion Man (removed by force)


The intro to this song is just epic. A lone, percussive acoustic guitar strums out an energetic riff for a few bars before the rest of the band comes in with a dramatic crash that's almost orchestral. From there on in you know things are going to get serious...and, well, they do. Talk about a chorus - I've rarely ever heard one so powerful and honest, beyond being (as it is) very tuneful. Also, how many folk bands do you know who use the word 'fucked' so many times in one song? Joking aside, there's something in that that, once again, sets these guys apart.


The unusual combination and use of instruments is what makes this band so distinctive and yet so familiar (in fact, to really appreciate this aspect of the band, I recommend you check out the video for this track, which is intimately grandiose). Alternating throughout the album, primarily between guitar, banjo, upright bass and piano, and adding the occasional mandolin, violin, keyboard, drums and even a foot-percussion kit, they've basically taken a whole bunch of musical styles from more or less the past century and brought them together in an entirely unique way. I'm still picking up on similarities to other artists and genres, both in this track and throughout the album. Fleet Foxes, Cat Stevens, Dave Matthews Band, countless country and bluegrass artists and folk music in general emerge as influences at different points, but there's also a proper rockstar vibe coming from these guys. For reasons I can't entirely justify, I think that if The Killers played folk, Mumford & Sons might be what they sounded like.


The number of times I've listened to this in the past few weeks would be enough to make me actively avoid most songs, and yet I still find myself scrolling to M in my iPod on a daily basis. I think the lyrics are what give this song such staying power. On paper, they seem apologetic and regretful, but the music gives them a forceful, almost accusatory edge. It's a strange combination of emotions that nonetheless reflects something very familiar. If you've felt it too, I think you'll know what I mean.

It's official: folk is cool again. Not that it ever wasn't.

Phoenix - Love Like A Sunset (Passion Pit's Shuttle Remix)

If you've been paying any attention at all to the global music scene lately, you must at least have heard of both Phoenix and Passion Pit, two of the most hyped bands of 2009 (so far) - and rightly so. More likely, if you have heard of them, is that you've also fallen in love with their music. Quite different stylistically but still part of the same indie scene, it seems as though it was only a matter of time till this French synth-rock quartet and Massachusetts-based electronic band came together. The results are suitably impressive.

Phoenix - Love Like A Sunset (Passion Pit's Shuttle Remix)

To understand where this is coming from, take a listen to the original version of the track, off the inimitable Wolfgang Amadeus Phoenix, released earlier this year. It's a two-part, largely instrumental 7-and-a-half minute 'interlude' reminiscent of Pink Floyd-esque space jams, but with an electronic edge. Passion Pit's drummer and resident remixer, Nate Donmoyer - alias Shuttle - takes the intensely dreamy track and adds an epically grimy beat that instantly translates it to a dancefloor setting. It's the kind of beat that often gets used and abused in the average 'club remix', but Shuttle uses it to great effect without making it too overboard or offensive.

While I'm no stranger to filthy beats and outrageous drops that send you sprawling on the floor, I think the weight of this track is just right. There's a great balance going on here between singer Thomas Mars' soaring vocals and the punchy synth chords and gritty bassline added by Shuttle. I really dig how this track manages to keep the hazy feel of the original while adding that driving element that would fit very nicely into almost any DJ set. Not too hard, but not too soft either. This one's just right.

I urge you to get hold of both Wolfgang Amadeus Phoenix and Passion Pit's debut LP Manners, if you haven't done so already. For your own sake.

Krafty Kuts, Freestylers & Dynamite MC - Dynamite Love

I don't know how much of a splash this track made when it came out, but it definitely deserves another mention. I was at Earthdance two weeks ago, where I managed to catch a killer set by Joburg regulars Musical Chairs on Friday night (if anyone can find these dudes on the interweb, drop me a line). Aside from the stage having one of the clearest setups (in terms of sound quality) that I've ever heard at a festival, that was the best set I heard that night, and this track was definitely a highlight. It's one of those that's guaranteed to get the floor pumping in pretty much any club you can think of, but you usually end up forgetting about it until the next time. But now, thanks to Ultrasensory, you can listen to this track from the comfort of your own headphones! The things I do for you...

Krafty Kuts, Freestylers & Dynamite MC - Dynamite Love


This is a great example of what can happen when the worlds of rap and electro come together to make some sweet, sweet music. And for once, it's not pretentious or annoying (we're looking at you, Dizzee Rascal), but just plain cool. This track makes you dance, no matter who you are or what music you're into, and that's a great thing. Sure, maybe it's a bit repetitive, but with a hook like that, how can it afford not to be? A fine piece of work all round by British breakbeat producers Krafty Kuts and Freestylers. Even Dynamite MC's fast-paced rapping about hot girls and wild parties sounds cool in context. Can you really argue with that?

The man himself

Yeah, I dig this. It's commercial, but in the best possible way. And I'll be just as stoked the next time I hear this played somewhere. When that happens, you'll know where to find me.

"Jesus Christ." (the indie band) - Is This Really What You Want?

Admittedly, the main reason I even noticed this track is because of that outrageous name - which, by the way, is officially written and punctuated that way. And that's probably the same reason you're actually reading this post right now. Hailing from Brooklyn, NYC, the duo, who refer to themselves as the "Poet Laureate" and "subconscious voice" of Generation Y, insist on calling themselves a "sound project" rather than a band. But egomania aside, the song is unavoidably cool. Whether you take it seriously or not is up to you.

"Jesus Christ." (the indie band) - Is This Really What You Want?


It's clearly a song about lost love, but beyond the vocals, which are both spoken and sung (and very tastefully, I might add), the wistful synthscape and minimal drums backing them make this more than just another throwaway track in a long list of insincerely nostalgic pop songs. The sounds seem to come from far away, but have a depth that you can easily find yourself slipping away into as you listen. There's also a subtle buildup of energy that runs through the entire track that's only really noticeable after a few listens, but is really one of the main reasons this song is so hard to let go of. It lingers a little, like the memories of a lost romance. As silly as that sounds, I think you'll find it hard to disagree.


The main thing that strikes me about this is that, for a band with such a ridiculous name, their music is far from it. It falls into a similar category to artists like Memory Tapes and Washed Out - sort of chilled out dreamwave, with an M83 edge. Chillwave? Use it, don't use it...

Regardless of whether you dig this track or not, the band's page on Muxtape (a new online platform for bands which also looks like a very cool idea) is well worth a visit. Make sure you go right to the bottom...some of these gems are too good to miss:

Splendid!

See you next time.

(P.S.: Sincere apologies for the recent lack of posts. Normal service has been resumed.)

Animal Collective Remixed

Thank God for Animal Collective. Deerhunter's Bradford Cox has called them "the most important band of our time", and I'm not far from agreeing wholeheartedly with him on this point. If you haven't heard Merriweather Post Pavilion, you're missing out on some of the most groundbreaking music of this decade. These four boys from Baltimore are the perfect example of a theory I've been working on, which I'm calling the 'bulldozer effect'. What this basically boils down to is an artist's ability to collect all the music from the past and, like a bulldozer, bring it together at one point in the present (or even the future). This is exactly what Animal Collective has done, and while you might think this would result in a whole bunch of discordant sounds that we've heard many times before, the reality is totally opposite. Their music defies classification, creating natural harmonies and organic rhythms from a wide range of eclectic sounds that pretty much everyone, regardless of musical taste, enjoys in some way. And that, my friends, is about as good as it gets.

Animal Collective - My Girls (Gigamesh 'Proper House' Remix)


Small wonder, then, that it's taken so long for anyone to seriously attempt an Animal Collective remix. Gigamesh has bravely risen to this challenge and created a remix that is as impressive as it is tasteful. The original track, one of my favorite songs ever, is still very present in all its glory, but so is Gigamesh, adding a very cool electro vibe which just feels right. The beats add to the track rather than overpowering it, as if they were always there, and that Frankie Knuckles arpeggio in the beginning finally feels fulfilled. It's all in the details, and Gigamesh clearly knows exactly what he's doing in that regard. Not that I expected any less from the dude, having heard a bunch of his stuff before. Mad respect.


Again I say: if you haven't already come across Animal Collective in your musical travels, you need to get on that train. That is all.