Panda Bear

One upcoming release I'm looking forward to this year is the new Panda Bear solo effort, Person Pitch, out in March. It is different enough from his Animal Collective work to warrant attention and from what I have heard of it, it may be nothing short of amazing.

The songs and the melodies I have heard are a bit more straightforward pop than some AC stuff with rousing vocals bathed in cavernous reverb, but the music is still experimental, eschewing much of his earlier folk acoustic approach for the sampling and electronic sounds of the DJ culture. While it is more electronic sounding, it still doesn't lose that joyous organic campfire feel that he and the Collective share.

Some of the songs can be tracked down as they have been released as limited run 12" eps. "Bro's" is available now on iTunes and I cannot recommend it enough that you buy the ep, it is totally worth the 4.99. This 12-minute plus song is awesome as it evolves and builds in cresecendos of echoing vocals and sounds. You can stream the first half of it on Fat Cat's website here.

You can also download the first song, "Comfy In Nautica," here on the Paw Tracks presspage.

All this has been easily available on the blogs so far...

Another 12" ep is out on Jan. 23rd, a split with Excepter, as well as a new AC ep...hopefully out on eMusic. The new AC album could be released this fall... we hope. They are touring this year, hitting TX on May 26th in Dallas and May 27th in Austin.

I may preview some other releases I'm looking forward to as the week/s go on...

The Best of 2006

I'm late again this year, shit happens. Holidays and other things get in the way sometimes. 2006 was a pretty mediocre year for the most part. I spent more time listening to and discovering old stuff than bothering with all of the hyped crap and the constant flow of the same-old boring indie-pop. I rediscovered my love of electronic music and noisy stuff, returning to my roots I guess, and sought out more challenging things to listen to. Not everything was bad, Liars and the Knife especially kept the faith, and even some of the really hyped stuff was great, but I think it is telling that I can't even bear to do a top 20, 15 was the best it gets with a few 'honorable mentions.' This isn't to say that I think these records below aren't good or great, they are, but I didn't get that excited about a lot of things this year.

The good news is that 2006 is over and 2007 is looking very bright especially early on in January-March.

I'll have my traditional best-of mix soon as well.

Here's the list, I tried to make it shorter, more concise, enjoy:

Worth mentioning:

Aloha - Some Echoes
Tussle - Telescope Mind
Clark - Body Riddle
TV On The Radio - Return to Cookie Mountain
The Evangelicals - So Gone
Bishop Allen - the 12 month EP series
Band of Horses - Everything All the Time
Fujiya & Miyagi - Trasparent Things
Ghostland Observatory - Paparazzi Lightning


15. Man Man - Six Demon Bag

This rambunctious album of maddened gypsy-folk is a great time, if a bit weird. Rowdy songs like “Black Mission Goggles” and “Engrish Bwudd” never got old, but the band and singer Honus Honus show their tender, soul and jazz side on “Van Helsing Boombox.” Still haven’t seen them live, much to my disappointment.




14. Indian Jewelry – Invasive Exotics

Psychedelic noise that only Houston could spit out; this band could be the heirs to the Butthole Surfers’ scattershot weirdo-mess. We Shot J.R. and Dusted Mag introduced this to me late in the year but it has gotten quite a bit of play from me since I picked it up. With its echoing vocals, hypnotic bassline, guitar noise and 10 minute length, “Going South” is a delight.




13. Califone – Roots and Crowns

A fantastic marrying of sounds of sparse electronic sounds and laptop production combined with traditional blues and folk music and even Eastern sounds. I got into this album really late, otherwise it would be higher on the list. The cover of Psychic TV’s “The Orchids” was one of the most beautiful songs I heard this year. Thanks to Brett for the recommendation.



12. 120 Days – 120 Days

These Norwegian kids had some buzz behind them along with an excellent epic 8 minute song to lead off with. They combine a krautrock pulse and the sense of the cold Nordic never-ending nights to make an electronic-rock hybrid that at times was compelling. Its hypnotic, driving and buzzing.





11. Nobody & Mystic Chords of Memory – Tree Colored See

This is a collaboration between Chris Gunst of Beachwood Sparks and Nobody, a bay-area psychedelic hip-hop producer. Soft subtle psyche-folk tunes are complemented by drum samples and looped effects, pianos and guitar strums. It makes for a great listen and one of those records that got quite a bit of play. Check out “Broaden a New Sound” for an example of this mix of the old and new with the dubbed-out looped beats and the 60’s psyche-rock feel.

10. Brightblack Morning Light – Brightblack Morning Light

This north Cali freak-folk group hit on something with its slow motion gospel-soul-blues on cough syrup sound. The album is best enjoyed at home, in it’s entirety, as it is hard to pick out a single song and the chill-out quality is not for driving a car. Extra points for including 3-D glasses, printed with marijuana leaves on them no less, to enjoy the album art with and making the album packaging made of completely recycled enviro-friendly materials. Hippies.

9. Midlake – The Trials of Van Occupanther

Some deride this as yacht rock, but I really enjoyed this album, from one of Denton's best. “Roscoe” was definitely one of my favorite songs of the year and it really encompasses what this whole record is about. I think they nailed that warmth and vague fuzziness in production that some of those old 70s records had. I really thought there soft-rock and CSNY-inspired harmonies were great.



8. The Black Angels – Passover

On Passover, Austin’s Black Angels make dark psychedelic drone-rock that touches on legends like the 13th Floor Elevators to the Velvet Underground to Brian Jonestown Massacre. The urgent, epic menace of “The Sniper At the Gates of Heaven” was one of my favorite songs of the year, with it’s guitar squalls, droning buzz and great vocals from Alex Maas.



7. Sunset Rubdown – Shut Up I Am Dreaming

Spencer Krug of Wolf Parade puts out a more emotional, dark and not as immediate album as his other band's work. It got continual play all year long and he has become one of my favorite song writers of late. I think the song that drove it home for me was the powerful anthem “Us Ones In Between.” Lo-fi produciton quality, murky reverb on everything and lots of organ and toy instruments, this record has a dreamy, dense sound.


6. Oneida – Happy New Year

This NY art-rock band has a distinct sound crafted from many elements and genres. Oneida use repetition and noise to great effect, at times creating dense, tight songs with harsh sounds and interesting structure. One thing that stands out immediately is the insistent drumming of Kid Millions, exhibited on songs like “Up With People” or “The Adversary.” The title of the album reflects a new beginning and Oneida’s continuing 60’s style optimism is felt throughout.


5. Grizzly Bear – Yellow House

A gorgeously produced album with so much depth it takes multiple listens to digest. Like Animal Collective, this group has beautiful vocal harmonies that defy description and with the help of studio trickery swirl and hang in space. It has such an inviting feel and warmth in the sound. Songs like “Colorado” and “Knife” are stunners and demand repeated listens.




4. Beach House – Beach House

Don’t let that name fool you, it is not some sunny pop record. I think this one took many people by surprise with its simple, timeless beauty, the warmth of it a perfect fall companion. A duo from Baltimore, they complement each other perfectly: her organs and voice, his slide guitar a gentle accompaniment. The lo-fi production, the simple drum rhythm, the song writing/structure are all key in making this a special record. “Apple Orchard” is the one that got a lot attention, but “Master of None” was a personal favorite. Seeing them live, outside in 40 degree weather at the New Amsterdam was a great experience.

3. Asobi Seksu – Citrus

This was one of my most played records of the year. I just loved it from front to back and singer Yuki Chikudate’s songs wormed their way into my heart. This NY band has a lot of promise with their experimental take on shoegaze noise-pop. The back to back greatness of the songs “New Years” and “Thursday” that opens the album are the obvious highlights. Nothing groundbreaking here just good music that can be enjoyed by anyone at any time


2. Liars – Drum’s Not Dead

Not number one after all my adoration for this album??? Let me not be mistaken here, this is a fantastic album that intrigues me and this really could be a tie for first, they are so close. Drum’s Not Dead’s stripped down percussive assault and droning noise was vital and much needed for me. I love their second album, and this one breaks that no wave sound down into a primitive, tribal feel. Some people dislike this album, but while I think that it is confrontational, it is also refreshing. I think it takes a lot of drive to make an album that is so far off from what is the norm, especially for a band with such huge expectations on them, and after their last album wasn't recieved well. Liars are exploring rhythm and sound and repetition and yet also finding beauty as evidenced by album closer “The Other Side of Mt. Heart Attack.” The space in between the sounds was like another instrument. Certainly something that will be remembered and referenced long after many records of this year are forgotten. As I listen to their catalog more and more, one thing is sure: Liars are one of, if not the single, most important band of this decade.

1. The Knife – Silent Shout

This record really grabbed me from the very beginning and never let me go. I am enamored of this Swedish duo’s dark, stripped down electronic sound here and it really restored my faith that people could still make interesting, and substantial music in this style. It's departure from their earlier work, which was a bit brighter and feaured less vocal manipulation. There is not one weak track on Silent Shout, but there are clear standouts. The title track has the darkness and nightmarish quality that pervades the album and Karin Dreijer's frighteningly distorted vocals. Then there is “We Share Our Mothers’ Health” with the drunken synths swirling about like they are about to break down, a stomping beat, and the eerie vocal duet. It’s a fascinating listen throughout and highly recommended for anyone looking for an electronic record that is not too beholden to current club trends and shows a wide range of influences delving deep into the genre's history.