na: m. ward, dark was the night, beirut

There are an alarming number of new releases today, from both big names and new discoveries. It’s to the point where I cannot even fathom how long this post is going to take me to write. I will try my hardest not to bail halfway through.

But, you know, no guarantees.

And awayyyy we go…

M. Ward, Hold Time: Probably the biggest release on a day full of big releases, M. Ward returns with another record of sparse and somewhat spooky folk songs. eMusic’s Karen Schoemer interviewed Ward — you can read the results here. Of the record she sez:

From tiny motifs like the analog church organ in “Blake’s View” to the full-scale recreation of field-recording folk in “Shangri-La” (complete with tape hiss), Hold Time exudes not just a love of old records, but a near-religious belief that the comforts of the past can stave off fears of an uncertain future. Images of death abound, from the hangman knocking on the door in “Jailbird” to the missionary wanderers searching for salvation in “Shangri-La’; music, Ward suggests, can be a last defense or a bridge to the everlasting. “Epistemology” and “For Beginners” are prescriptive manuals on how to maintain innocence in a corrupt world.

Various Artists, Dark Was the Night: Probably the second-biggest release of the day (but it’s a close call), Dark Was the Night features performances from a host of indie all-stars — Feist, Ben Gibbard, the National, the Decemberists, Bon Iver, Spoon, Arcade Fire, etc etc etc — and all of the proceeds go to charity. That is all I will say about it. eMusic’s Kyle Anderson sez this:

The songwriting on Dark Was the Night is impeccable. Bon Iver slathers his haunting pipes over a sparse acoustic strum and general spookiness on “Brackett, WI,” as strong as track as he’s produced. The National’s “So Far Around the Bend” stars another one of their hapless heroines, caught up in the perpetual motion of failed relationships and briefly healing nightlife; in the end, she decides “There’s no leaving New York.” David Byrne’s collaboration with the Dirty Projectors sports simple, delicate harmonies that represent the uncluttered spirit of the latter-day Talking Heads records, which automatically makes it the most effervescent, palatable song the Projectors have ever produced.

Beirut, March of the Zapotec & Realpeople: Holland: An interesting, curious new release from Zach Condon — a record with two distinct personalities. The first half Condon recorded with the Jiminez Band, an enormous Mexican brass band that lends the requisite oom-pah to his compositions. The second half, believe it or not, favors synthpop. Amanda Petrusich interviewed Zach for eMusic — you can read her piece here.

Robyn Hitchcock, Goodnight Oslo: Robyn Hitchcock keeps putting out records and I keep on sort of liking them. eMusic’s Karen Schoemer sez:

Goodnight Oslo is a sequel of sorts to Hitchcock’s 2006 career rejuvenator, Ole Tarantula. Recorded with the same psychedelic-folk all-stars — Peter Buck (R.E.M.), Scott McCaughey (Young Fresh Fellows,Minus 5) and Bill Rieflin (Ministry, R.E.M.) — Goodnight Oslo nevertheless works a very different tone; where Tarantula seemed an ecstatic affirmation of life and the natural world, Oslo wallows in ambiguity, telling unsettling stories about mistaken paths and the uncontrollable recesses of the psyche.

And You Will Know Us By the Trail of Dead, The Century of Self: Considered by many to be a return-to-form after a few missteps, Century of Self finds TOD tempering the prog impulses that ran rampant over the last few releases and concentrating more on songcraft — albeit brawny, strident songcraft. I’ve interviewed Conrad and Jason twice, and they rank among the most thoughtful and pleasant interviews I’ve ever conducted. eMusic’s Steve Hochman says this about Century:

Prog without the pomposity, emo without the pity pleas, the sixth album from Austin quartet …And You Will Know Us By The Trail of Dead stands as both a statement of independence after a stint with major Interscope Records and the result of hard-earned maturity. It’s a record full of grand quests, appeals to God (and gods) and raging Texas torrents, all of them carried away on swelling, keyboard-heavy crescendos. Having tempered its early rep for musical mayhem, the group has managed to channel their considerable talents into music that hits Who-like peaks one moment and releases Sonic Youthian power-washes the next.

Asobi Seksu, Hush: Hey everybody, it’s a new Asobi Seksu record! eMusic’s Matt Fritch sez:

Asobi Seksu, the New York City band led by guitarist/singer James Hanna and singer/keyboardist Yuki Chikudate, tested the parameters of shoegaze with 2004’s self-titled debut and 2006’s Citrus; with Hush, the pair focuses on delicate and nuanced dream pop that makes the ladies of Lush seem positively butch. Despite track titles such as “Gliss” and “Glacially” (the latter is actually a spry pop song with Kevin Shields-esque pitch-bending guitars), there’s a firm commitment to dynamic songwriting. As if balancing the scales between Arcade Fire and the Cocteau Twins, Asobi Seksu portions out wave-crashing cymbals and galloping drums along with Chikudate’s airy, often incomprehensible vocals.

The Kills, Keep on Your Mean Side: US arrival of the most recent Kills record. Punky, garagey, sneering female vocals and dirty, dirty guitars.

Jason Isbell and the 400 Unit, Jason Isbell and the 400 Unit: Solo album from ex-Drive By Trucker. eMusic’s Amanda Petrusich sez:

Jason Isbell and the 400 Unit, Isbell’s second release since going solo, is crammed with all the thick, steamrolling guitar-rock you’d expect from a former Trucker. But where Isbell’s old band consistently indulged (self-consciously, at times) in brash, Skynyrd-approved southern traditions — face-crumpling electric riffs, crushed cans of domestic beer, long, gnarly hair flapping in the Alabama breeze — Isbell is emblematic of a gentler, more thoughtful Dixie: Despite all the riffage, Jason Isbell and the 400 Unit feels more like a folk record at heart.

Psapp, The Camel’s Back: Psapp put out a record on the Leaf label years ago that I really liked. This one doesn’t really sound like that one. eMusic’s Barry Walters sez:

As evidenced by the staccato funk guitar and jazz horns of the flirtatious opening cut “I Want That,” Psapp has bounced back with extroverted tunes that reflect the bustling exterior world. Despite their continued reliance on indoor sounds, lyrically they’ve turned outward: On the decidedly perky single “The Monster Song,” Durant peers through her door, trying to spot an elusive and unnamed beast. “Through the crowds and bustling sounds/There’s something waiting for me,” she sings, matching her fears to a carefree ditty that’s as fitting for Sesame Street as Feist’s “1234.”

Eleni Mandell, Artificial Fire: LA vocalist turns in another record of smooth, singer-songwriter style pop songs. She’s got a smooth voice, and the guitar tones are bell-clear and even. eMusic’s Wayne Robins sez:

Never mind the artifice, here’s Eleni Mandell, with feeling. The coolly brilliant Los Angeles chanteuse packs some serious heat, thanks in part to guitarist Jeremy Drake, who squeezes out the sparks that make the 15 songs on Artificial Fire roar and flicker. Not since Johnny Marr hooked up with Morrissey has a guitarist so effectively fleshed out a singer-songwriter’s most candid emotions.

Alela Diane, To Be Still: Pleasant debut from folkie Alela Diane, one-time classmate of Joanna Newsom. For reals! eMusic’s Garry Mulholland interviewed her for a Breaking Artist fetaure, which will be going up shortly. Of the record, he sez:

Largely composed in a shack in Nevada City and recorded in her current home of Portland, Oregon, To Be Still dresses Diane’s ghostly-but-strident voice in warm tones, provided by banjo, guitar, steel guitar, bass and strings. The most obvious influence on To Be Still is Sandy Denny-era Fairport Convention, and it’s a measure of the strength of her best songs — the title track, “White As Diamonds,” the psych rock-flecked “My Brambles, Age Old Blue,” which features backing vocals from legendary folk veteran Michael Hurley — that Diane stands up to the comparison.

Steve Kilbey, Painkiller: Solo record from Church frontman contains all of the elements you might expect: broad, jangling guitars, deep vocals and a somewhat mystical outlook. Fans of the Chameleons, the Go-Betweens and, of course, the Church, should love.

National Skyline, Bliss & Death: National Skyline is Jeff Dimpsey from Hum. Remember Hum? I used to love them. Especially that record with the green cover and the zebra. This record is smooth and soothing, lots of glimmering guitar tones and gently pleading vocals. Lovely!

Odd Nosdam, T.I.M.E. Soundtrack: Booming beats, weird sound effects and seriously skuzzy guitars characterize the latest release from Odd Nosdam. If the trash compactor in Star Wars was a rave, this is what they’d be playing. And with that statement, I have officially been spending too long on this post.

These Are Powers, All Aboard Future: Noisy, nasty, sneering female vocals and sharp shards of electronics. eMusic’s Tim Noakes sez:

Opening their third album with a riff that sounds like Marilyn Manson’s “Beautiful People” as filtered through Aphex Twin’s most sinister compressor, These Are Powers kick off their follow up to Terrific Seasons in brutal style. The New York/Chicago trio’s sole female member, Anna Barie carries much of the vocal weight, carving herself into a niche somewhere between Siouxsie Sioux and Mu, growling repeatedly: “We came back… and we brought it with us.” They never explain exactly what it is that they’ve got, but from the sound of the grimy rhythms churning angrily behind her, it’s likely something menacing and deeply unpleasant.

Sotheast Engine, From the Forest to the Sea: I have been on a serious, serious folk jag lately, so this is very appealing to me (despite the fact that the first three songs appear to be some kind of “song suite,” which is about as palatable to me in pop music as records written “in character”). Rambling, roving folk/Americana, not totally removed from recent Bright Eyes. Not all gold, but lots of nuggets throughout.

Throw Me the Statue, Purpleface: New single from Throw Me the Statue.

Wolves in the Throne Room, Malevolent Grain: The last Wolves in the Throne Room record, Two Hunters, was amazing, a blistering slab of thudding tar-metal occasionally brightened by odd, operatic female vocals. This monster EP — two songs, both over 10 minutes — should satisfy until the next full-length. An initial listen finds the group once again in top form — especially on “Hate Crystal,” which is absolutely skull-breaking.

Thomas Mapfumo, Gwindingwi Rine Shumba and Hokoyo!: Two classics from the chimurenga king arrive on eMusic. Both of these are stellar and will appeal to fans of the guitar-based highlife sound (kinda like Sunny Ade). Nimble finger-picking and rapturous vocals make for a can’t-miss combination.

Gun Outfit, Dim Light: Yancey turned me on to this band. I like the demos a lot, but haven’t had a chance to listen to the full length yet — maybe Yancey can chime in in the comments? Pretty great, brittle, speedy guitar-based indie with conversational vocals. Reminds me of indie rock of old, in a good way. Very slack, very Homestead records.

Sholi, Sholi: New music from Touch & Go! eMusic’s Andy Beta sez:

With the gush of drums that slowly coheres into “All That We Can See,” and the honeyed vocal harmonies between Sholi’s guitarist Payam Bavafa and bassist Eric Ruud, the group might be mistaken for playful noiseniks Deerhoof. That’s not too far off the mark; Deerhoof drummer Greg Saunier recorded this Bay Area band’s debut, and much like their California neighbors, Sholi toys with keening songcraft and chaos.

Mi Ami, Watersports: More new music from Touch & Go! eMusic’s Andy Beta sez:

Granted, the Internet compresses timeframes, but isn’t it too soon to have bands inspired by Gang Gang Dance’s 2008 effort Saint Dymphna? In the case of San Francisco’s Mi Ami, thankfully not. Sure, they have the upper-register shrieks, ever-mutating guitar lines, and Ginsu’d world beat moves down pat, just like Brooklyn’s stalwart ethno-wave practitioners. But Mi Ami strike out on their own path. On opener “Echononecho,” vocalist Daniel Martin-McCormick takes cues from Gang Gang’s Lizzi Bougatsos, but infuses them with more post-punk timbres. The groove the band builds up around him is like a sandstorm, widening to the point of devastation.

Emperor, This Spake the Nightspirit: Live single from the Inferno festival that someone with no ears has rated one star. Absolute insanity — pummeling riffs and eerie, ethereal keyboards, all the Emperor trademarks in full effect.

Retro Stefson, Montana: Yancey and I are both fans of this great young Icelandic band. And when I say young, I mean young — the lead singer is 20 years old and the bass player is 16. They write bright and jubilant pop music (see: “Luna”), and have the rare distinction of being one of the only bands I wanted to hug after watching them play.

Broken Spindles, Kiss/Kick: Broken Spindles is a side project of Joel from the Faint — it sounds roughly as you might expect: an engaging combination of synthpop and taut guitar riffs.

DDMMYYYY, Black Square: I don’t know anything about this band. Kinda spazzy, some chintzy electronics and herky-jerk post-wave tempos and riffs. Worth a preview.

Faunts, Feel. Love. Thinking. Of.: Solid synth-based pop, breath vocals and retro-futurist washes of electronics. Kind of remind me of that band Komputer, who I don’t think anyone remembers but me.

The Asteroid No. 4, These Flowers of Ours: These guys are from Philly, which means I’m contractually obligated to write about them. Fortunately, this record sounds great: solid jangle/psych pop with solid melodies and a suitably sluggish tempos. For fans of LSD.

The Appleseed Cast, Sagarmatha: Does anyone weep for the Appleseed Cast? I used to be way into these guys, back when I was also way into Mineral and Knapsack. In no way is that any kind of dis. This record sounds lovely, and it seems like the Apples have moved away from their early emo tendencies into a kind of ringing, melodic indie rock. Could be a sleeper — fans of old Wheat, don’t sleep.

Deceiver, Thrashing Heavy Metal: You can ballpark what this sounds like. Pretty nasty: thrashy riffing and throad-shredding vocals, kind of straddles the line between hardcore and metal but contains just enough of both to satisfy either audience.

Oath to Vanquish, Applied Schizophrenic Science: The second track on this record is called “Dearly Beheaded,” which kind of says it all. This group is from Lebenon, and turn out a fantastically unholy noise. Extreme black metal at its finest.