Album Review: Polica ‘Give You The Ghost’
I am keen to side projects. They are similar to independent start-ups that form organically. These projects often exist for only one album or tour. The fun and memories remain, but ultimately the reconnect happens with the group and the side project dies. I think of Little Joy. A brilliant project where Strokes drummer, Fab Moretti created a timeless album that made me realize that that members of my favorite band could exist outside the greater good. Even consider Jeff Magnum’s transition. The casual listener remembers the side project Neutral Milk Hotel and forgets the initiator in Olivia Tremor Control. These records have caused me to pay close attention whenever members of my favorite groups decide to branch out and try something new.
The latest side project worthy of note is Minneapolis-based Poliça. This group is an extension of Gayngs, a band that I adore. Members Channy Casselle and Ryan Olson initiated the idea in the summer of 2011. Just like any good co-founders, they decided to surround themselves with additional talent. A new outlook, fresh energy and a mix of something different began the build toward innovation. Dual drummers Ben Ivascu and Drew Christopherson were brought in to provide magnificent percussion. Bassist Chris Bierdan was the final piece to the puzzle.
If you like a deeply percussive groove then Poliça’s Give You The Ghost is certainly the album for you. From track to track this album is filled with the smartest, deepest beats that I have heard in a long time. Casselle’s vocals slide right over the top of each snare creating a sound so magnificent that I find myself at a loss in my search for a comparison. The album is enjoyable from end to end and has tremendous character. It is hard to believe that such a new project, created in an expedited fashion, can offer such a mature sound. Bat for Lashes fans should listen to Poliça. This provides a gloomy opportunity to dance. This is a string of sinister songs that project life.
The song “Dark Star” does the best job of promoting this gloomy groove theme. Casselle’s vocals are diminished by the production, but are brought to life with deep percussion. The chorus demands a foot tap. Rich melody pops over the top of minor chords to fill the listeners headphones. The last minute of the song is dedicated to sinful drum fills and Casselle’s final words mixed with horns. Consider it on the short list for songs that I will not live without for the remainder of the year.
“Lay Your Cards Out” should be noted when endorsing this record. Bon Iver’s Mike Noyce offers his vocals in this track. They are paired with an insane dose of rhythm towards the end of the song. The listener will also notice Noyce’s vocal contributions on “Wandering Star”. I give Poliça credit for roping a piece of last year’s indie darlings, Bon Iver, to help give validity to their tremendous sound.
With a successful side project, timing is everything and I truly believe that Poliça could not have done a better job on the execution of their release. Coming off the heels of Gayngs’ mate Justin Vernon’s self-titled release of Bon Iver last year they have found a legitimate way to ride coattails. Give You the Ghost is innovative, deep, and completely full of sound throughout its entirety. A true musical startup that deserves extra listening capital and could sustain for a sophomore release.
Readers in Bloomington have the chance to see Poliça on May 19 at 9:30 pm at The Bishop. Grab tickets for $10.
Connect with Poliça via Facebook | Twitter
Written by Brett McGrath
Album Review: Alabama Shakes ‘Boys and Girls’
It is no secret that the Alabama Shakes were my favorite new band of 2011. The four songs on their debut EP were drenched in a southern-fried soul that hits deep down in the seat of the pants. When MOKB co-conspirator Josh Baker returned from Nashville’s Next Big Soundland Festival last year singing the band’s praises, I gave their EP a spin and never looked back.
My passion for the Shakes toed the line of unabashed cheerleader. It’s just that so much of what I’ve been listening to over the last couple of years is devoid of the raw emotion and timeless aura that dominated the Alabama Shakes EP. As someone who has spent a large portion of his life binging on blues and New Orleans R&B, the discovery of Brittany Howard filled a basic need that had been lacking in my relationship with the current independent music scene.
Much the same way that The Black Keys were able to accomplish on Rubber Factory and The Big Come Up, the Alabama Shakes translate a sound of an earlier era without ever becoming hackneyed. Today, the band releases their debut LP Boys and Girls. The four tracks from the band’s self-titled EP remain, plus seven more. The new notes build nicely upon the band’s foundation. Why reinvent the wheel when audiences have unanimously affirmed your work to this point? No need.
The album opens with the bone rattling bass and drum line that serves as the powerful, diesel engine of “Hold On.” Snare – kick, kick. Snare – kick, kick. The track is as fresh as the first day that I heard it, with Howard’s vocals snapping the neck hairs of everyone within earshot to attention. Fucking rock, man.
The new material kicks off on track three with what will inevitably become one of the summer’s biggest anthems, “Hang Loose.” Here, the Shakes trade the dirty South for the white capped surf of the beach. Focused and concise, the track clocks in at a mere 2:26. Nevertheless, allowing for plenty of time to leave an impact. Next up is the impassioned rocker “Rise to the Sun.” The guitars bubble to a boil at the end of each verse before pulling back in exchange for pounding rhythms. Like a lover intent on avoiding the premature climax, the Shakes take listeners to an emotional brink without pushing them over the edge.
The Alabama Shakes round out the latter half of Boys and Girls with a handful of tracks that slip seamlessly into the band’s mold. No missteps. Highlights include the energetic, cymbal-heavy “I Ain’t the Same” and brief, bouncy tease of “Goin’ To The Party.” I willingly concede that little, if any, risks are taken, but those are for albums two or three anyway – or never for all I care. While I wouldn’t complain if the Shakes let go and asserted themselves at times, I will likely continue to lap up this delicious material like a grateful dog for as long as the band continues to churn it out. Thus far, the band has done nothing short of convince every crowd they come across that they are the next big band. Until they give us a reason to argue otherwise, who the fuck is going to doubt them?
Connect with Alabama Shakes via Facebook | Twitter
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Written by Rob Peoni
Album Review: Twerps ‘Self-titled’
Aside from the radical, retro column ‘In the Dust’ by Ben, the team at Thought on Tracks tends to focus on the brand new. We all make an effort to share our thoughts on what we think our readers should be listening to. I am passionate about introducing new music to the readers of this blog. However, I have come to the conclusion that there should be no expiration date on when an album can be reviewed. If I am listening to it and I think it rules, then I will now be sharing it, regardless of its release date. I pull back six months to share the self-titled release from Twerps.
If Real Estate makes your knees buckle, then Twerps is for you. This Melbourne product breeds a laid back vibe built on smooth, melodic guitar patterns. This album offers a sense of comfort and it improves with each play. This record is one that should have received more attention last year and I am on a grass roots campaign to put it in your rotation. With Anthony Davis like growing spurts, this record is a standalone winner. It is hard for me to put many bands in the same family as Real Estate, but I am doing it here so please take note.
The beginning of this record is crisp. Acoustic rhythm backed by electric fills. Lead singer, Marty Frawley’s vocals pop through the surface on “Dreamin.” This track was my introduction to the Twerps and remains my favorite. This track controls my mood with each play. I find myself getting lost in the lead fills, constantly discovering new sounds within their patterns. I wish every song that I listened to had this type of power.
Follow up track “Don’t Be Surprised” should be noted for its strong change of pace from verse to chorus. A mellow acoustic guitar and slow vocals introduce this track and it appears that the mood will peak at placid. The chorus screams, “Don’t be the one to call my name I don’t want to hear you calling my name” and now we have entered Stephen Malkmus world with the quick switch up. A mild-mannered track in a bit of a musical masquerade is the best way to describe this song. Just in case you are keeping track at home I have mentioned both Real Estate and Stephen Malkmus in this write up. Do I have your attention?
Towards the end of the record you get a bare bones offering of Twerps with the song “Bring Me Down.” Frawley displays a Willie Nelson type delivery with his words. Julia MacFarlane (backup vocals / bass) makes me melt during the chorus. A different, dynamic side of Twerps is seen with this track. This song might be simple and stripped, but helps to complete a captivating debut.
If you missed out on Twerps last year, then there is no better time to let their album introduce itself to you. The band offers melodic, lo-fi, Aussie, indie pop that inspires deep thought. This record caused me to slow down, take a step back and reflect. A half of a year is not so long after all. Twerps are currently on tour in the US with Real Estate. Check out their full tour schedule HERE.
Connect with Twerps via Facebook | Twitter
Written by Brett McGrath
Thought on Tracks 