Michael Danaher, Author at ALARM

Pop Addict: Andrew Bird’s Break It Yourself

Every other Thursday, Pop Addict presents infectious tunes from contemporary musicians across indie rock, pop, folk, electronica, and more.

Andrew Bird: Break It Yourself (Mom+Pop, 3/6/12)

Andrew Bird: “Give It Away”

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Album after album, few artists are able to maintain a distinct sound while pushing (and sometimes breaching) boundaries. Taking songwriting to new heights and depths while adhering to one’s own musical identity is something that doesn’t happen often enough. But Andrew Bird is one such artist. Ever since his breakout 2005 album, The Mysterious Production of Eggs, the former Squirrel Nut Zippers member has become an anomaly, melding together straightforward song-craft with whimsical idiosyncrasies.

Now the Chicago-based multi-instrumentalist has orchestrated a new album that is sonically arresting, even for those who have grown accustomed to Bird’s musical style and tendencies. Break It Yourself marries Bird’s more straightforward songwriting, featured prominently on his last few releases, with the progressive sounds of his 2010 instrumental release, Useless Creatures. The new album makes a home in the middle ground, and prospers for its entirety.

Pop Addict: Sleigh Bells’ Reign of Terror

Sleigh Bells: Reign of Terror (Mom + Pop Music, 2/21/12)

Sleigh Bells: “Born to Lose”

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When Sleigh Bells’ Treats debuted in 2010, the Brooklyn-based duo, composed of Derek Edward Miller and Alexis Krauss, established itself as the new master of noise pop, infusing overblown electro beats and crunchy, gritty guitars into raucous compositions. But the album was much more than an experiment; it was catchy as hell. It was an unapologetic exploration of pushing “pop” music to its threshold and crossing it.

Now Sleigh Bells is back with its sophomore effort, Reign of Terror, and Miller and Krauss have added even more edge to their sound than what Treats had in store. From the opener, “True Shred Guitar,” guitar riffs are front and center — at first pulsating through stadium crowd noise and Krauss’ profanity-laden shouting, screaming to an invisible audience, and then erupting with an ’80s heavy-metal riff. The track explodes and then fizzles into the next: the first single, “Born to Lose,” infused with a swarm of double-bass blasts but with more cultivated vocals.

Pop Addict: Hospitality’s Hospitality

Every other Thursday, Pop Addict presents infectious tunes from contemporary musicians across indie rock, pop, folk, electronica, and more.

Hospitality: Hospitality (Merge, 1/31/12)

Hospitality: “Friends of Friends”

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When Brooklyn’s Hospitality surfaced in 2008 with a six-song EP produced by Karl Blau, there was, naturally, immediate blogosphere buzz surrounding the band. Its poppy, minimalist sensibility catered to the indie-pop avenues it was exploring. The songs were spirited, displaying immense capability and promise. With that potential and talent came a signing to Merge Records and the band’s proper debut LP (produced by Shane Stoneback), which revives several songs from the EP while adding a few more, just for good measure.

From the moment that the album starts, there is something very warm and welcoming about the arrangement and composition. Album opener “Eighth Avenue” starts with acoustic strumming and persistent, steady drumming, immediately calling to mind early Belle and Sebastian work. The song builds gradually, integrating keyboards, harmonies, feedback, and percussive ornamentation, but it never strays far from its sunny-day feel. It is a laid-back indie-pop treasure that is sure to give first-time listeners a reason to give the rest of the album a chance. And once that happens, you’re roped in for the duration of the record.

Pop Addict: Nada Surf’s The Stars are Indifferent to Astronomy

Every other Thursday, Pop Addict presents infectious tunes from contemporary musicians across indie rock, pop, folk, electronica, and more.

Nada Surf: The Stars are Indifferent to Astronomy (Barsuk, 1/24/12)

Nada Surf: “Waiting for Something”

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The first thing that people usually think of when they hear the words “Nada Surf” is the mid-’90s post-grunge gem “Popular.” The track seemed to encapsulate everything that alternative rock in the ’90s stood for into a three-minute radio hit: humor, irony, hooks, cheekiness, and distortion. (It also helped that MTV played the music video nonstop.) And the band deserved the, well, popularity. The song was clever and catchy as hell. But, as is the case with many bands of that era who still had good songs/albums besides their hit (see: Superdrag, Better Than Ezra), Nada Surf has spent the rest of its career trying to get as far away as possible from that song.

To belittle the entire career of Nada Surf to a mere three minutes of one hit in the ’90s is completely unfair, though. Even though the band has lived in the shadow of “Popular” for the majority of its career, Nada Surf has quietly and steadily been putting out an array of solid garage-rock/power-pop-infused records. The Proximity Effect, from 1999, still hinted at the humor that “Popular” touched upon, but the album showed natural growth, with lyrics revolving around more “adult” problems, like seeking out a therapist or the emotional bankruptcy of living too fast. The album’s lyrical honesty and vulnerability is on par with Weezer’s Pinkerton.

By the time Let Go rolled around in 2003, Nada Surf had completely detached itself from the snot-nosed teenage angst of its lone hit single. Instead, a matured, weathered, broken, and fixed Nada Surf was at the helm, endorsing the same power-pop sensibilities it had on previous records, but now with added layers of acoustics, synthesizers, harmonies, and deeper, more meaningful songwriting. The Weight Is A Gift (2005) and Lucky (2008) followed in a similar (though slightly more watered down) fashion.

Pop Addict: Gruff Rhys’ Atheist Xmas EP

Every other Thursday, Pop Addict presents infectious tunes from contemporary musicians across indie rock, pop, folk, electronica, and more.

Gruff Rhys: Atheist Xmas EP (Wichita, 12/20/11)

Gruff Rhys: “Slashed Wrists This Christmas”

Around this time of year, before the reality and harshness of winter set in, December is usually a time of good cheer and holiday festiveness. And now, thanks to Gruff Rhys, atheists can enjoy the season too. The Super Furry Animals front-man has just released a new EP called Atheist Xmas — a three-song offering featuring hook-heavy, head-bobbing catchiness — that is sure to help get you through to the coldest days this winter (or at least a few minutes of them at a time).

And don’t worry — this one isn’t sung in Welsh.

Pop Addict: The Black Keys’ El Camino

Every other Thursday, Pop Addict presents infectious tunes from contemporary musicians across indie rock, pop, folk, electronica, and more.

The Black Keys: El Camino (Nonesuch / Warner Bros., 12/6/11)

The Black Keys: “Lonely Boy”

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Earlier this year, when The Black Keys announced a new album via a used-car commercial spoof starring Bob Odenkirk, it was obvious that the band had something fun up its sleeve. The gimmick didn’t come out of nowhere, given the band’s knack for humor (see last year’s “Tighten Up” video). If anything, it felt right — with The Black Keys’ rising popularity in the last few years, Dan Auerbach and Patrick Carney seem to be enjoying themselves. And that’s never been more apparent than on their latest release, El Camino.

With the last decade spent tearing apart genres and sewing them back together, the blues-indie-rock outfit (which recently relocated to Nashville from Akron, Ohio) has become one of the most consistent acts around. And though many bands might crumble under the weight of mounting exposure — in the last week alone, the band has appeared on Saturday Night Live, The Colbert Report, and The Late Show with David Letterman, in addition to jump-starting a North American tour packed with numerous arena stops — the band has simply gotten more carefree. Auerbach and Carney look and sound like they’re having the times of their lives, and they probably are, even if that means adapting to their now-more-expansive surroundings. And El Camino, the band’s seventh effort in just nine years, showcases the end product of that transformation, as the duo has cultivated a bigger, more varied sound — without losing its edge.

Pop Addict: Phantogram’s Nightlife EP

Every other Thursday, Pop Addict presents infectious tunes from contemporary musicians across indie rock, pop, folk, electronica, and more.

Phantogram: Nightlife EP (Barsuk, 11/1/11)

Phantogram: “Don’t Move”

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In 2010, the electronic-pop duo Phantogram burst on the scene with its impressive debut offering, Eyelid Movies. The duo, comprised of Josh Carter and Sarah Barthel, brought a fresh perspective to the indie scene, showcasing an album that was both elusive and grounded at the same time — simultaneously experimental and catchy. It was so well received, in fact, that Carter and Barthel were able to quit their day jobs and tour relentlessly in support of the album. Alternating between vocal duties, Barthel and Carter concocted an assortment of beat-heavy drum loops, ornamental guitar work, bipolar synthesizers and samples, and two-headed harmonies. Phantogram was one of the best new acts of year. And so the question remained, as it does with every notable debut act: could they follow it up?

With the six-song Nightlife EP, Phantogram builds on what made Eyelid Movies such an achievement in saturated digital pop. Yet again harboring a swath of soundscapes and sonic concoctions, Phantogram has constructed a record that fleshes out its strengths. Between Carter’s guitar work, Barthel’s keyboard work, and both of their vocal and sampling duties, the duo has positioned itself as one of indie’s most beloved new entities.

Pop Addict: M83’s Hurry Up, We’re Dreaming

Every Thursday, Pop Addict presents infectious tunes from contemporary musicians across indie rock, pop, folk, electronica, and more.

M83: Hurry Up, We’re Dreaming (Mute, 10/18/11)

M83: “Midnight City”

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We live in an increasingly digital age. In this new era, certain elements associated with music have taken a hit: packaging, album artwork, tracks strategically placed on side A or B of a record, the creative complexities that go into double albums — basically, anything that made putting out a record as much of an artistic statement as a musical one. M83, however, is bent on keeping that aesthetic alive.

Of course, in order to do this, Anthony Gonzalez, the front-man for the French electro-pop outfit, had to create an album that actually mattered. He had to make an album that would transcend genre and time period, one that would eclipse the mass amounts of other records released this year. He had to put something out that was over the top, epic, anthemic — and so M83 did just that.

Pop Addict: Mr. Gnome’s Madness in Miniature

Every Thursday, Pop Addict presents infectious tunes from contemporary musicians across indie rock, pop, folk, electronica, and more.

Mr. Gnome: Madness in Miniature (El Marko, 10/25/11)

Mr. Gnome: “Ate the Sun”

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Formed in 2005, Cleveland-based duo Mr. Gnome has been offering introspective, spooky indie rock ever since its inception. Even though the art-rock band is composed of just singer/guitarist Nicole Barille and drummer/pianist Sam Meister, Mr. Gnome finds a way to make a lot of noise. And thankfully for us, it’s noise worth hearing.

Though two-pieces are fairly common these days, Mr. Gnome has managed to stand out with the best of them. The band’s latest effort, Madness in Miniature, finds Barille and Meister confident, collected, and ready for the limelight, armed with a catalog of varied instrumentation and musical styles.

The album flexes its muscles frequently. Oscillating between raucously distorted guitars, atmospheric soundscapes, persistent drumming, and Barille’s full-on belt-outs and soft-spoken vocal layers, the body of work immediately calls to mind the best stuff by Yeah Yeah Yeahs and The Kills, with hints of Queens of the Stone Age peppered throughout. And just a few tracks in, it becomes apparent: this is fright rock at its finest.

Pop Addict: My Brightest Diamond’s All Things Will Unwind

Every Thursday, Pop Addict presents infectious tunes from contemporary musicians across indie rock, pop, folk, electronica, and more.

My Brightest Diamond: All Things Will Unwind (Asthmatic Kitty, 10/18/11)

My Brightest Diamond: “Reaching Through to the Other Side”

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Detroit-based singer/songwriter Shara Worden has long made a career as an indie-pop mercenary. Over the past decade or so, she has lent her talents to Sufjan Stevens’ Illinoisemakers, collaborated with The Decemberists, covered Radiohead for an OK Computer tribute album, appeared on numerous compilations (including her excellent cut on Dark Was the Night), and contributed to the chamber ensemble yMusic (which also includes Bon Iver, Antony & the Johnsons, the New York Philharmonic, and Rufus Wainwright).

Clearly, Worden has no problem keeping busy. But even in the midst of her many endeavors, Worden has found time for her indie-pop pet project, My Brightest Diamond, without ever skimping on musical quality or integrity.

Such is the case on All Things Will Unwind, My Brightest Diamond’s third effort on Asthmatic Kitty, as Worden’s talents are as focused and as strong as ever. Indeed, the most engaging aspect of My Brightest Diamond is undoubtedly Worden’s voice. With such grace and skill in tow, it’s no wonder that so many acts enlist Worden as a hired hand. Her voice is so pure, so strong yet delicate, so confident and dynamic, that there is no denying the presence of an immense talent. Swaying between sweet, soft-edged crooning (“She Does Not Brave the War”) to full-on, forceful belt-outs (the latter half of “Be Brave”), Worden knows exactly what she’s doing. The songs swell and sway, kept adrift — and often take flight — thanks to Worden’s cosmic vocal work.

Pop Addict: Peter Wolf Crier’s Garden of Arms

Every Thursday, Pop Addict presents infectious tunes from contemporary musicians across indie rock, pop, folk, electronica, and more.

Peter Wolf Crier: Garden of Arms (Jagjaguwar, 9/6/11)

Peter Wolf Crier: “Settling It Off”

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There are enough two-pieces nowadays that people understand the formula can work without a full backing band — and work well. When Peter Wolf Crier, the two-man collaboration between Peter Pisano and Brian Moen, released alt-folk gem Inter-Be in 2010, it seemed to have a good handle on what it was doing. An acoustic-driven approach, sprinkled with sporadic percussion and piano, established Peter Wolf Crier as one of the year’s best-kept secrets.

But that was the problem; the band’s sound was so subdued that it often went unnoticed, and the band struggled to put its stamp on the indie-folk scene. Peter Wolf Crier ultimately had two options for its next release: create another Inter-Be-esque album and risk floundering again, or expand and experiment. Though it stands to reason that either direction may have proven fruitful, there’s no denying that Garden of Arms is a product of the second option.

Pop Addict: Cymbals Eat Guitars’ Lenses Alien

Every Thursday, Pop Addict presents infectious tunes from contemporary musicians across indie rock, pop, folk, electronica, and more.

Cymbals Eat Guitars: Lenses Alien (Barsuk, 8/30/11)

Cymbals Eat Guitars: “Rifle Eyesight (Proper Name)”

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A couple of years ago, Staten Island-based Cymbals Eat Guitars released Why There Are Mountains, an arresting, noisy display of off-kilter rock songs mixed with a few hooks and left turns. For many listeners, the album came out of left field. Its raucous guitars, crashing drums, and frantic vocals made Cymbals Eat Guitars an instant sensation in the indie-music scene, and soon, it was one of the most respected bands — and one of the best surprises — of 2009.

Now, two years later, the band that’s often touted as being “on the rise” has returned with its second effort. Lenses Alien, the band’s first offering since signing to Barsuk, looks to establish the band as a staple in indie rock.

Lenses Alien picks up where Why There Are Mountains left off, and builds indispensably upon the recklessly nurtured garage rock that the band has seemed to perfect in its short career. Pinpointing the band’s sound is a tad difficult — the music has elements of the Pixies, Pavement, and Pinback — but it keeps in step with tried-and-true lo-fi methods. Indeed, with Lenses Alien, Cymbals Eat Guitars has added another chapter to the musical styling of its solid debut. With album opener “Rifle Eyesight (Proper Name)” clocking in at more than eight minutes, and riveting tracks like “Keep Me Waiting” and “Shorepoints,” the band seems intent on hitting listeners with the full force of its grunge-meets-pop capabilities.