Tennis’s Young & Old: More of the Same Lovely Nostalgic Pop

Tennis’s unique ‘60s girl group sugar pop sound is back in Young & Old, the group’s newest release which is scheduled for Valentine’s Day (that’s exactly something that Tennis would do). They’ve been doing a good job of teasing us with the singles they’ve released, but here’s what I think of the whole thing.

It’s only 33 minutes long, which is short for a full LP but seems to be Tennis’s style. The songs are all short, jingly, hazy, and very catchy. The album starts with “Origins,” one of the songs released as a single, which is upbeat in a way that reminds you of ballads sung at retro high school dances. It’s danceable and intricate. More modern drum beats follow in “My Better Self,” which would also be great for a slow dance. “Traveling” is faster and seems more like something that belongs on the band’s debut LP, Cape Dory.

Towards the middle of the album, the songs become just as sweet and jingly jangly, but more forgettable, which is probably why the album itself is so short; Tennis’s music is a gorgeous, evanescent pleasure. “Petition” seems to be the song which is most inspired by the ‘60s aesthetic, especially in the chorus, and “Robin” indulges in the beach pop haziness. Frontwoman Alaina Moore’s distinctive voice carries all these songs, though it would be nice if it was balanced out by male vocals on a couple of tracks, at least.

“High Road” is one you’ll want to bop your head to, and “Dreaming” is another Cape Dory-styled track. “Take Me To Heaven” is more thoughtful than the rest and has lovely piano riffs, while “Never To Part” ends on a more guitar-oriented note. All the same things you loved about Tennis, including the fuzzy guitars and bell-like riffs, are present in this album. I can’t say that the band has developed their sound much—if anything, this album is perhaps a little more contemplative, without losing the joyfulness of Cape Dory.

If you like Tennis already, you’re going to like this album. If you don’t know Tennis, you’ll still probably like this album. The band is adept at fashioning sweet melodies which are often too twee for some, but tap just the right vein of nostalgia. They paint a very specific but intangible half an hour long daydream for those of us who indulge in the music of the last century. Many have tried to emulate this sound, but Tennis is the indie band which has truly nailed it, with polished catchiness and a distinctive sound.

Phoenix & Fireworks at CMJ 2011

Purity Ring at Webster Hall. It was dark; I didn’t see much either. But it sounded good!

I was fortunate enough to attend the CMJ Music Marathon this past weekend and had an opportunity to see several artists perform. Here’s a rundown of what I saw and how sick it all was. I absolutely do plan to go next year, so if you’re a band, get in touch and let’s party together.

Tom Tom Magazine Showcase at the Woods
I had intended to attend this to catch the Suzan, but we didn’t last the whole time as they weren’t on until 9 pm. Instead, I had the opportunity to see Brute Heart and Pearl and the Beard (Hard Nips was on next, and though I was intensely curious to see what sort of band would name themselves that, we left before they arrived). These two little-known artists did indeed feature female drummers (Tom Tom Magazine is a publication created specifically for and about this demographic) and were quite enjoyable to listen to. Neither made a huge impression on me, but the bar was pleasant enough, until we realized that underage people weren’t supposed to be there. Whoops!

Atlas Sound at the Ace Hotel
I didn’t know much about Atlas Sound beyond the singles he’s released recently, but I was pleasantly surprised by this free show. The venue was lovely and fit perfectly, as there were taxidermied animals and old books on shelves everywhere, with an elegant bar and leather couches. The show was relaxed and excellent. The wavering notes of “Te Amo” were what really got me—they were well suited to the intimate feel of the show, which was incidentally broadcast by KEXP in Seattle. The 45 minute long set was perfectly paced, and really lovely. The hipster-tastic audience hung on to every note and everyone watched the man intensely. I’m definitely going to go dig up some Deerhunter now.

Purity Ring, opening at Webster Hall
Purity Ring is my favorite new artist of the year so I was absolutely overjoyed to finally see them live. I couldn’t help but smile as I heard the opening bars of “Lofticries,” and by the time the set was over, I felt that I could have left and still had my money’s worth. They used a strange instrument which looked like PVC pipes taped together with lights on the end that flashed rhythmically, and the singer had a little lantern that she waved around. Even stranger was their stage set up, which was very close to the front and created a more intimate atmosphere in such a huge space. I was doubly thrilled to hear them because they had a 45 minute long set but only three released songs… So there was tons of new material, all of which I adored and which you will too if you like the stuff they have out so far. I am absolutely ecstatic that I got to see these people live and cannot wait for their full length to drop. And as a side note, I did pick up the “Belispeak” 7” which was on (drumroll please) mixed blue and orange vinyl, like sorbet. So sick. SO sick. Might have to play the vinyl on next week’s show.

Com Truise, opening at Webster Hall
I really enjoy Com Truise’s music but I have to say that I found the live show disappointing and felt that it went way too long. His music is good but tends to be repetitive and too chill (almost like background music) so I did not enjoy seeing it live. Several audience members who seemed to be heavily inebriated were really into it, and bumping into me constantly, but I was not and really just couldn’t wait for Neon Indian. The other curious thing was that the audience somehow morphed into a horde of “bros” since Purity Ring left the stage. Nearly everyone in the audience was male. Oh well. Com Truise is alright but he can’t DJ a dance party unless everyone there is stoned.

Neon Indian at Webster Hall
I only really got into Neon Indian this year as mentioned in my previous review and was really excited to see them live. The frontman seemed a bit nervous and was chattering quite a bit, but apparently that’s normal for him. The band overall seemed very earnest and sweet. While I was getting tired of the chillwave from the brutally monotonous Com Truise set, I did enjoy this act, which was primarily music from their latest album. I was overjoyed when “Polish Girl” came on (in case you were wondering, I snagged the “Fallout” 7” on which “Polish Girl” is the B-Side) but sadly I could not last the whole time as I was drained not only from the previous acts but also walking from St. Mark’s Place to the Ace Hotel and back again. We left early but I was glad I could catch their two main singles.

Era Extraña: Neon Indian’s Chillwave Masterpiece

It is with great excitement that I release my review of Neon Indian’s Era Extraña, because I get to see them live at CMJ on Friday. I actually never got into Neon Indian’s previous album (yes yes, I am a latecomer), but I was well aware of the chillwave phenomenon and do recognized him as one of the main influencers of the genre. I am pretty happy with Era Extraña; perhaps not happy enough to buy it on vinyl, but I’m not ruling that out because the thought of having “Polish Girl” on vinyl is intoxicating.

After a brief intro track, the album starts with “Polish Girl,” which many are saying is the song to beat for song of the year. The catchiness and nostalgic tune are lovely and danceable and not boringly chill. This is, in fact, a song that I could listen to several times over and not get bored with. “The Blindside Kiss” follows, carrying the energy into a haze of vocals and synths which eventually melts into “Hex Girlfriend,” which I believe was the third single (perhaps unofficially). These two tracks are solid.

After another longer interlude track, “Fallout” appears. It’s strong, considering it was released as the first single, and probably the most chillwave of all the songs on the album. However, it is still perfectly danceable, as is the whole album. “Era Extraña” is the next track and not my favorite, honestly, as it’s pretty vague and sounds like an experimental electronic digression. Thankfully, it’s followed by what I consider to be my second favorite song on the album, “Halogen (I Could Be A Shadow).”

The whole album screams ‘80s, which is helped along by the fake ‘80s computer ad video Neon Indian made (presumably for funsies). The last few songs on the album are a little forgettable but all distinct in their own way when you listen (playful “Future Sick,” house-ish “Suns Irrupt,” the final interlude in the “Heart” series.) “Arcade Blues (Single)” is randomly tacked on to the end and is a good ending. Overall, the album is relaxing and heavy, in only the way a Thanksgiving dinner can be.

You can now certainly consider me a fan of Neon Indian. My own taste tendencies, when looking at entire discographies, is that I love the sophomore albums of bands. Thus, it isn’t surprising that I enjoyed Era Extraña. I’m definitely looking forward to seeing all this material performed at CMJ, and you can certainly count on a write up for that! Will I return from the show with this LP on vinyl? Only time will tell!

Williamsburg’s Meridian Coffeehouse is Rocked By The Suzan

Thursday night saw the Brooklyn-based Japanese band, The Suzan, at the Meridian Coffeehouse in Williamsburg, Virginia, with openers Digging Up Virgins and Katie Wood. The small but energetic venue was packed with an enthusiastic audience, which rocked the house’s floor and walls.

Sadly, I missed Katie Wood’s act, but you can check out her lovely folk music at her BandCamp page. Digging Up Virgins had a energetic audience with some loyalty partially due to the fact that most of the band are current students at William & Mary. People sang along with the lyrics and the band itself played an electric, piercing set of pop punk that started off a mosh pit which showed up again later. I had never seen Digging Up Virgins live and was glad I had this opportunity. You can listen to more of their stuff at their BandCamp page.

The enthusiasm carried over when The Suzan showed up, opening with their hit single “Home,” which the audience sang along to. The adorable Japanese women, dressed in brightly colored, quirky clothes knew how to give a good show, and the audience was into the music, so a very comfortable rapport emerged, to the point that a huge mosh pit erupted again. The set, which undulated through different moods but was always suitable for dancing, was an hour long and everyone at the venue was exhausted and sweaty by the end. It was pretty clear that everyone had a great time, as people hung around to take photos with the band and were chattering about how good the show was for a while afterward.

This was an excellent first show at the Meridian for me and was well worth the nominal fee I paid for entry. Here’s hoping that they can bring more amazing acts down to Williamsburg in the future!

Photo courtesy of Caroline Fulford.

Dom’s Solid Family of Love EP is Perfect for the End of the Summer

I enjoyed Dom’s Sun Bronzed Greek Gods so I was excited for their Family of Love EP. It’s got their same summery surfy psych rock vibe and is a very strong second release. Poppy, snappy tracks are interspersed with more thoughtful and relaxed riffs, and the EP overall has great balance.

“Telephone” is probably my favorite track in the whole set. After starting with a weird prolonged note and some odd drum notes, it smoothly transitions into a indie pop hook which is enhanced by swoopy guitars and synth bits and a clever use of telephone beep boops as a riff. “I come alive when you pick up the phone” is a great line, just perfect for singing along with on your way to your last beach trip of the summer. Oddly enough, the theme reminds me of Britney Spears’ “Phonography.”

Next is “Family of Love” which begins with the end note of “Telephone.” This is a little obnoxious, but it’s a pretty good song, more relaxed, with echoey vocals and winding guitar notes. The lyrics are less floaty and superficial, which isn’t really the style I want from this band, but it’s decent.

“Damn” was one of the songs they released some time ago as a single. It’s more energetic but still has a very lo-fi, chill vibe. It’s catchy, but not in the poppy way “Telephone” is. I like the exuberance it manages to convey though (someone yells “Yeah!” part way through the song) and it’s also good to sing along to.

The fourth song, “Happy Birthday Party,” is my second favorite on the EP and has the same edgy poppiness that “Telephone” does. It sounds more clear cut and dance-able. The chorus is notoriously catchy (“happy happy birthday party party!”). The entire last minute of the song turns into a strange electronic detritus-filled interlude which I’m not a huge fan of, but it’s just one of those odd features of albums.

Finally, on a superlatively lo-fi note is “Some Boys” featuring Emma, which is a well-crafted song about a girl and her trouble with boys and their ulterior motives. A cute piano riff and fuzzy guitars round it out well and make it a different, but not out of place end to the EP.

Family of Love ends quickly but leaves you with a great sample of Dom’s sound. It’s just a teaser though; I’m sure the indie world will be eagerly awaiting their next LP, which I hope they release soon, and which I hope is something more durable. This excellent collection of five simple songs is too short to become a classic, but I’d like it to be a stepping stone to a solid LP. We’ll see what happens next!

“Telephone” [MP3]

Clams Casino’s Serene and Mysterious Rainforest EP

“Gorilla” was one of my favorite songs for a long time so I was excited to see what the rest of Clams Casino’s Rainforest EP would sound like. The psychedelic album cover was intriguing and so were the rainforest-themed names. As it turned out, I was pleased by the EP, which uses samples of nature sounds and stays true to its witch house record label (Tri Angle).

The EP starts off relaxingly with “Natural,” a mysterious song which sounds like a broken transmission, punctuated with smokey sounds, a slightly Asian riff, and wordless voice clippings: whispers, murmurs, and moans. The effect overall sounds like it would be disturbing, but it’s quite peaceful.

With the sound of a creaking tree (?), the song ends and goes into the bird calls and rainforest static of “Treetop,” which has an intriguing electronic line which is repeated and transformed throughout the song. The bird/insect calls are the most interesting part of this album, as you don’t hear them used as samples very often. A slow, pulsing drum beat helps keep the energy up.

“Waterfalls” sounds more like a lead up to “Gorilla,” and is either ties the whole album together or just sounds repetitive, take your pick. More eerie wordless male voices are woven over what sounds like running water. “Drowning” comes next, and is more melancholy than relaxing, as befits the name of the track. It wasn’t my favorite simply because it seemed more disconnected and less structured than the others, but it fits the EP well overall.

The last song is “Gorilla,” which is my favorite. Lush cymbals and tribal hollers are mixed with that same drum beat, and the overall effect is wildness, until the orchestral section kicks in, with a surprisingly sad tone. The vocals return triumphantly, even defiantly, but the song gives in to the melancholy. It seems that it’ll end sadly, but the wildness comes back in the end, leaving you on a stronger note.

Rainforest isn’t like much else I’ve ever heard before and I like the otherworldly sounds that the distorted vocals and carefully layered samples provide. It’s a short listen at less than twenty minutes, but it’s twenty minutes well-spent.

“Gorilla” [MP3]

Little-Known Wim Produces A Treat

Wim’s debut self-titled album is quite pleasing. The overall style is a lot like a cross between Muse and Beirut—the latter’s folksy melancholy blends well with the formers’ versatility and almost operatic, crooning.

There are a variety of songs on this album, which, like I said, show off the band’s versatility. While there is a common element to all of the songs, the difference between some of them can be polarizing (which is neither a good or bad thing—I find it fascinating that they can make their own style sound so different). Songs like “Colossus,” and my favorite, “Over the Mountain,” sound a lot like Beirut with their otherworldly nostalgia. ”See You Hurry,” which has been remixed by Twin Shadow, is even more haunting in its original form, with a wintery chorus and bleak tone.

Oddly enough, “Something For You” has riffs and a cheerier tone which reminds me a lot of The Hush Sound, which is one of my favorite bands (sadly it is on hiatus). The chorus especially sounds exactly like something from Goodbye Blues.

“America” is more like something you would hear on the radio, while “In The Morning” features a synthy sounding accordion or an accordiony sounding synth, and sounds a lot like something muse would pull off. ”In The Morning” is also quite Muse-like. “Milk With My Tea” is a complete wild card but because the vocals are so distinctive, it fits in with the rest of the album. Wim also plays with a more old-fashioned ballad style in “John,” which suits the lead singer’s voice beautifully.

Overall, despite the strong influences (or is it parallel development?) from other more well-known bands, Wim has their own distinct sound and I love that they’ve tried out different things on their debut album. This makes me very interested to see what they’ll come out with next, seeing as they’re a bit unpredictable.

The album can be purchased from the band’s website and is recommended for fans of Muse, Beirut, and Edward Sharpe & The Magnetic Zeroes.

Animal Collective Delivers New Material at Merriweather Post

^ This was the only photo I could get because I was armed with just my iPhone and in the pit. You will simply have to imagine for yourself how stoned Avey Tare looked.

Saturday saw Animal Collective at Merriweather Post Pavilion, with Deradoorian and Black Dice. It was a sold out show and certainly looked it, with every square foot of the lawn taken up by a neon blanket and the pit eventually filling up with oddballs.

We arrived late and only caught the tail end of Deradoorian (“Hey! That sounds like the chick from Dirty Projectors! Oh wait…”) which was a shame because it sounded quite lovely and the next act was awful. While I feel bad trashing a band, Black Dice was completely unlistenable. It didn’t help that the sound balance overall was off, and the obscene metallic sounds rended my ears and made us want to leave. We considered leaving but MPP doesn’t allow re-entry. Curses!

We were stuck with the unearthly sounds of Black Dice for at least an hour, during which we attempted to keep our sanity by reading out choice phrases from their Pitchfork reviews (“…it’s fun to hear Black Dice go straight for the jugular…”) We were shocked to see that they have scored 7-8+ on all of their albums. While I respect Pitchfork most of the time, I have no idea how they could tolerate Black Dice. I later found out that Animal Collective is friends with Black Dice, and allows them to tour with them, which is a damn shame.

Finally the chorus of dying tigers ended and we were left to wait for Animal Collective, who started off with some ambient, experimental beats. The members were all there, and the set list showcased their individual talents. I was expecting a lot of new material from reports of the Coachella show, but I was surprised to see that only four or five old songs were played (and no “My Girls”). If I knew that they were going to play so much new material, I wouldn’t have gone. I went because I like their old stuff, and while new stuff is fun, it doesn’t get the crowd revved up; part of the reason I enjoy attending concerts is because it enhances your experience of your favorite songs. The crowd only really exploded when “Brother Sport” finally came on.

The new stuff sounded all right (I guess), with a couple in particular really getting me, but I don’t think I’m going to like their new album. Merriweather Post Pavilion was so tight and easy to follow, while this new stuff meandered more and entered some areas which you’d really need to be on something to appreciate. It was enjoyable to see incredible talent in action, but I have to say it wasn’t the greatest concert I’ve attended so far this year.

In addition, I don’t know if I’ll see another band at such a large venue again. I went to this because it was Animal Collective, and because it was Animal Collective at Merriweather Post Pavilion. The view was mediocre (some strange dancing guy kept blocking my view) and the sound was stadium-like: off-balanced and a little thin and harsh. Going to MPP is like going to a theme park so it was an interesting experience, but now I know I prefer smaller venues.

Overall, I did enjoy myself, and was glad to see one of my favorite bands play live, but felt that the concert overall fell below expectations. I’m interested to see what Animal Collective does next (because ODDSAC was awesome) but hope that they just coast with the vibe they had and don’t pull a Radiohead or MGMT on us.

Nightbox’s Fast-Paced, Most Curious EP

I really loved Nightbox’s “Pyramid” and was happy to see that they had a self-titled EP out which is just as good. The Irish/Canadian group has produced a cheerful, energetic release with trippy as hell lyrics.

“Pyramid” is just a fun, lovely song, which recalls a trip to see the Pyramids and how boring mundane things are after seeing them—the song is so full of life and joy and youthful exuberance that you can’t help feeling that there’s more to life as well.

“Fumes” is a little creepy, with its talk of an alien and fumes and other really bizarre things, but is an enjoyable, upbeat song, with a sense of urgency. It reminds me vaguely of Katy Perry’s “ET,” but then, anything related to aliens is going to now. 

“Relocate You” continues the theme of weird lyrics but is a bit more low-key and relaxed, though it seems that Nightbox likes to keep all of their songs upbeat and fast-paced. The riffs are almost reminiscent of post-hardcore bands, which is notable.

“Bears” is cheerier and has an ’80s synth tune going on in the background. It’s definitely something you can groove to on the indie dance floor. Indeed, the lyrics do mention dancing. It cuts off with a minute to go and the whole album fades out, making you wonder what just happened and what you listened to. But the EP leaves a pleasant aftertaste and is overall worth a listen.

I have no earthly idea why Nightbox isn’t more well-known, because their work is well-produced, well-balanced, multilayered and not too lo-fi. I wouldn’t be at all surprised to see them explode in popularity after a tour or something, as their music is likeable and would appeal to a variety of listeners. Check out their website.

Foster The People Releases the Album of the Summer

How can I even begin to discuss Foster The People’s Torches? The whole damn album is excellent, and it’s obvious that they’re just going to go viral by the end of the year. They have a distinct sound and are just in time for “Pumped Up Kicks” to be the “song of the summer,” which I only recently learned is a thing. Strong electronic influences contribute to a modern sound which embraces nostalgia but charges ahead confidently.

The album opens with “Helena Beat,” a ridiculously catchy dance tune which you can sing along to, or dance to, or drive to, or anything, really. It’s followed by “Pumped Up Kicks,” whose lyrics are quite tragic (they’re from the point of a view of a kid involved in a school shooting—”all the other kids with their pumped up kicks, you better run, better run, outrun my gun”) but the song is upbeat, which is an odd contrast.

“Call It What You Want” is almost disco-tastic—hell, it is disco-tastic, and I love it all the same. “Don’t Stop (Color on the Walls)” and “Waste” are also strong and carry the album well, until they’re followed by “I Would Do Anything For You,” which is a really adorable love song which I can barely stand to listen to (“Ooh la la, I’m falling in love, and it’s better this time than ever before”).

“Houdini” is plopped in the middle of the album and would make a good choice for third single, and is followed by “Life on the Nickel” and “Miss You,” which are more low key but still somehow make good party/dance songs. It’s odd how they manage to do that. “Warrant” ends the album on a chill and cheerful note.

There are some distinct elements which I think make this great—all of the songs are tight and well-contained, but they all flow together wonderfully, making this an album that you could just keep playing and playing. The disco and ’80s synth madness influences are obvious but they sound oh so modern and fresh and lovely.

Buy this album, because I promise you’ll have it on repeat. I’m going to have difficulty finding anyone who doesn’t like Foster The People, and I’d better get tickets soon because by the time their show in Richmond in September rolls around, they’re going to be ridiculously popular.

Links to get the album are on their official website.