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Posts from the ‘Album Review’ Category

17
Feb

Hotfox Shares Album Details

Local favorite Hotfox is busy at work and I can’t wait to hear how their sophomore LP sounds.  If you are a regular of Thought on Tracks, you know that we gushed over their debut You, Me, and the Monster.  This record not only gained a lot of attention from this blog, but several others outside of Indianapolis.  Coming fresh off their selection to be part of the JanSport/Sonicbids SXSW Showcase. The band will also be one of 24 bands featured in the State of Music Showcase at J.Black’s on Wednesday, March 14. Hotfox has been extremely busy at work recording their next project.  This week the band released a list of new songs that they have recorded.

AK47
Picnic
Psychedelic Operations
Sugar Packet
Alien
Wooden Dragon
Sex Bitten Dogg
Socks
Jeremiah’s Pocket
Weird Pillow
Bankers
Bad Egg
Andy’s Face

Time of release is unknown, but I can promise you that we will keep you posted with any further information that we receive.  Until then, go insane with  “Tombstone Teeth” off their debut. Bloomington residents may look for Hotfox at a house party near 2nd and Henderson this evening.

Connect with Hotfox via Facebook | Twitter | Musical Family Tree

Written by Brett McGrath

15
Feb

Album Review: Jessie Baylin ‘Little Spark’

I have realized that the key to my success in 2012 is to master the art of multitasking.  As my head spins, I understand that this year is the busiest that I have been in my entire life.  The first months have been jam packed with a new job, travel, spending time with family and friends, and continuing to try find the next album that sticks with me. Often, my posts come fast and provide me with an immediate opportunity to share my favorite new music with you.  While I am granted a certain satisfaction from my contributions, it is immediate and then forgotten. There is little time to reflect on yesterday while sharing my tastes as there is always something new that I want to be talking about.  The best part of contributing to this rapid-fire blog post blitz is when a record stands so tall that I hit a wall and reflect.  Overcoming this type of obstacle is a blessing because it forces me to slow down and focus as life moves 100 miles per hour in front of me. This type of record demands a certain focus and a conscious concentration. Although, it is a tower to climb, the journey offers an opportunity to open the door for much needed meditation.  Jessie Baylin’s Little Spark is the first record to insert itself in my musical skyline this year and I think it will linger a while before returning to earth.

Singer-songwriter Jessie Baylin uses beautiful arrangements to make Little Spark resonate with its listeners.  After the first time I listened to this record, I pondered on its messages and realized that this was one that I could tell my parents about. A stripped down, masterfully orchestrated piece about love bred from a vocal fusion of country and soul made me realize that it not only spoke to different genres, but more importantly opposing generations. Little Spark strikes a myriad emotional chords, which provide a catalyst for thought. Listeners of all ages can relate to this material.

It should be noted that while Baylin’s vocals provide the talking points on this record, it is Richard Swift who has built its backbone with his consistently strong arrangements. Longtime member of The Shins, Swift serves as the chief arranger, multi-instrumentalist, and a pseudo coach for Baylin during the recording. Swift brought Baylin to Oregon to record the first three tracks and then finished the journey with producer Kevin Augunas in Los Angeles.  The adoption of a stellar supporting cast displays Baylin’s flexibility and willingness to progress.  Early listeners of Baylin will admit that Little Spark does not sound like anything that she has ever recorded. The influence of Swift, Augunas and composer Jimmie Haskell  fostered a growth in Baylin’s writing.

“The Greatest Thing That Never Happened”

Track, “The Greatest Thing That Never Happened” begins with simple piano chords and a slow bass line that emphasizes Baylin’s commitment to simplicity.  Horns enter to provide emphasis to the melody, a point for Swift that is noted by attentive listeners.  Baylin’s vocals remain the centerpiece throughout, with each additional sound strategically designed by the album’s veteran architects.  A full team effort that shows that it takes more than a star singer to create a championship recording.

For me, “Yuma” serves as Little Spark‘s signature track.  Baylin’s voice peaks as she sings, “Give him Arizona, and I took the California coast, tired of borders, I am going back to where I left my ghost.”  This post-breakup seclusion displays the stick in the ground separation that we all demand after heartbreak.  The incorporation of specific locations provides value to Baylin’s story as she paints a picture of the power of separation for all her listeners.  Eventually, we all realize there is a time to jump the borders and explore new territory.  Baylin displays that destination is oftentimes unknown, but the thought of relocation lead by the openness to explore new lands. “Yuma” provides the off the cuff escape that can help fill the void and turn down the blues. A fantastic fantasy laced with hope and message that Baylin drives into following track “Holiday”. These songs present an obstacle for listeners while providing the important opportunity to reflect before having to make that decision.

“Yuma”

The structure of ‘Little Spark’ offers an extremely listenable record open to many forums.  It goes well with coffee in the morning.  It helps to maintain composure while battling a deadline at work. It provides company in a single bedroom apartment.  Most importantly, it provides me the opportunity to talk music with Dad.  An opportunity that will always slow down time, no matter how insane life gets.

Connect with Jessie Baylin via Facebook | Twitter

Written by Brett McGrath

13
Feb

The Problem with Bon Iver’s GRAMMY Acceptance Speech

For those of you that may have missed it, Justin Vernon, lead singer of Bon Iver, won two GRAMMY awards last night. One for Best Alternative Album and the other for Best New Artist. The latter win came despite the considerable success of Vernon’s debut 2007 release For Emma, Forever Ago.

Vernon gave one of the more awkward (See video) acceptance speeches in recent memory for his Best New Artist award last night, saying:

“Hi. It’s really hard to accept this award, um. But, uh, well there’s so much talent out here – like on this stage, and there’s a lot of talent that’s not here tonight. It’s also hard to accept because, you know when I started to make songs, I did it for the inherent reward of making songs…So I’m a little bit uncomfortable up here, but with that discomfort I do have a sense of gratitude. I want to say thank you to all the nominees and to all the non-nominees that have never been here and never will be here…”

It seemed Vernon was attempting to use the stage at LA’s Staples Center as a platform to discuss the growing dichotomy between The Recording Academy and the rise of independent artists and labels, bolstered by the Internet’s effect on popular music. While I agree wholeheartedly with Vernon’s words, the end result appeared less of a rebel’s stance than the beating of a half-dead horse.

An acceptance like Vernon’s would have came across as shocking and noteworthy had it occurred in the 1990s, when major labels were still churning out platinum albums with regularity. Instead, Vernon’s words come after a decade of turmoil within the industry that has seen album sales dwindle and independent artists thrive in a fashion never previously thought possible. As a result, I found myself cringing during the speech rather than pumping my independent fist firmly in the air.

Essentially, the revolution in music has already taken place. The independents have won the war, even if the bourgeoisie may win a few more skirmishes. Yes, the major labels continue to maintain the lion’s share of radio time, but I tend to think that balance of power will shift naturally as radio moves from the airwaves to the Internet in the coming years.

So I ask, what was gained by Vernon’s decision to take a stance? He didn’t say anything that should come as a surprise to The Academy or its viewers. In my opinion, the bolder decision would have been to quietly accept the awards, knowing that they no longer carry the clout of decades past. Instead, the acceptance was exactly what the lamestream audience expected of indie’s leading man, allowing pop fans to shrug, “Another hipster disses the GRAMMYs…so what?”

Watch the video below and let us know your reaction. Do you think Vernon’s speech was shocking and worthwhile? Or is he simply saying what we all already know: major labels are a decaying dinosaur, grasping at their last strands of control?

Written by Rob Peoni