The now-Montreal based, once-Toronto-based samplegazer Doldrums (aka Airick Woodhead) has a new album on the horizon called Lesser Evil, and the shit I’m hearing from it sounds pretty cum-your-pants-tastic. I’m like not even brown-nosing, this shit really is fucking killer; there’s a reason Pitchfork is pissing itself to write about him.
The song we’ve all got to analyze today is “Anomaly”, a word that most people (myself included) probably learned after watching The Matrix Reloaded and pulling out a dictionary to find out what the fuck the Architect said to Neo in the scene where they have their conversation. Anyways, the song actually (to my great delight) finds Woodhead moving more towards the ‘gaze’ than the ‘sample’ – everything here swoons and moans – it’s pretty beautiful and sexy stuff. And Woodhead weaves a great vocal melody on top of the shifting, swirling whole. Interesting – are we to expect an album more in this vane than the more manic, sometimes Bollywood-inspired sounds of his past work?
Whatever the case, it seems each new develop with the post-Spiral Beach crew brings more impressive surprises. I wouldn’t be surprised to see it hitting critics top-ten lists. Long time since The Drake Hotel shows, eh guys?
Whereas in April I could barely find enough songs to put together a short mix, this month I left out a ton in order to keeps thing brisk and well-paced. May was a great month for music and for myself. I went to Washington D.C. and New York and though I didn’t see any live bands, I found out about a bunch just by going to the record stores in the places and picking up weeklies and stuff. Anyways, here’s the mix, I think it’s a pretty good one.
1. The Hiya Dunes – Definitely Retarded
2. Monomyth – Sacred Hand
3. Daze Daze and the Siamese Grave – Faceplant
4. Pillowcase – Brain
5. Hemlock Shaw – Pals Around
6. No Joy – Junior
7. Weed – Tie To Everything You Own
8. Doldrums – Jump Up
9. Nomadic Firs – Cover Bombs
10. The Tight Ship – Home Again
As is not infrequent, Pitchfork is 100% correct in giving Montreal samplegaze experimentalist Grimes’ latest album, her first full-length for 4AD, Visions, the ‘coveted’ Best New Music distinction and and an 8.5/10. It is a phenomenal album: consistent, inventive, original, and astoundingly accessible. I had already been growing more and more favourable to Grimes‘ earlier work – which I first thought good but a little too ‘grimey’ and weird for casual listening, but this totally surpasses it in every way. It feels bigger, more expensive, more experimental, catchier, melodic, even danceable sometimes. Not to get carried away, “bonny bear?”-asking friends will still think it ‘s the kind of music the skinless humans in the second planet of the apes movie might listen to while having sex – but anyone who’s sympathetic to the weirder sampletastic shit that’s been pretty hot of late will likely agree with me on this one.
I first met and saw Grimes at a Rich Aucoin Tiger Bar show being put on by Snakes + Ladders, the promo company/blog of Daniel Woodhead – Moon King maestro and brother of Airick Woodhead, who’s Doldrums project is featured one of the albums best tracks, “Colour Of Moonlight (Antiochus)”. I didn’t think this skinny chick with a strange haircut would end up being a Pitchfork darling, but I was clearly very wrong. And I’m glad that I was, as it shows that we’re moving towards an increasingly experimental-friendly indiesphere, with the boundaries determining what is just ‘too weird’ to get popular being demolished by the day.