Interview: Dinosaur Jr.’s chemistry, formula, and pursuit of perfection intact on I Bet on Sky

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Dinosaur Jr.: I Bet On Sky (Jagjaguwar, 9/18/12)

“Watch the Corners”

Dinosaur Jr.: “Watch the Corners”

When punk hit in the 1970s, it was popular to call the prog rockers and stadium-filling FM-radio vets “dinosaurs” for their size and presumed extinction. That only made it more fun for J. Mascis and his pals to dub their thunderously loud Amherst, Massachusetts, trio Dinosaur in the mid-’80s (it added the Jr. on its second album) to confuse things a bit more.

The band dealt in volume and aggression learned in hardcore act Deep Wound, but guitarist Mascis’s laconic and numb musings and bassist Lou Barlow’s emotional wail were another planet removed from typical punk spit and anger, and Mascis’s graceful, dense guitar solos showed more than a passing knowledge of classic-rock chops. The band has always been a unique balance of aggression and cuddle — snot and bedroom blues — and few of today’s indie rockers ever think to combine both.

ALARM's 50 Favorite Songs of 2012

ALARM’s 50 (+5) Favorite Songs of 2012

Last month ALARM presented its 50 favorite albums of 2012, an eclectic, rock-heavy selection of discs that were in steady rotation in our downtown-Chicago premises. Now, to give some love to tunes that were left out, we have our 50 (+5) favorite songs of last year — singles, B-sides, EP standouts, soundtrack cuts, and more.

ALARM's 50 Favorite Albums of 2012

ALARM’s 50 Favorite Albums of 2012

Another year, another torrential downpour of albums across our desks. As always, we encountered way too much amazing music, from Meshuggah to The Mars Volta, Converge, Killer Mike, P.O.S, and many more.

Melechesh

ALARM’s recap of CMJ 2012 (photos)

Spread out across venues in Manhattan and Brooklyn, this year’s CMJ Music Marathon provided a glimpse at some of the year’s best emerging artists in addition to a healthy lineup of veteran performers. With five days of showcases and concerts to attend, the festival offered something for everyone, with bands representing a variety of genres.

Beachwood Sparks

Review: Beachwood Sparks’ The Tarnished Gold

Beachwood Sparks: The Tarnished GoldBeachwood Sparks: The Tarnished Gold (Sub Pop, 6/26/12)

“Forget the Song”

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Beachwood Sparks was at once a throwback and, from a 2012 perspective, ahead of the wave. In the early aughties, the band of former college-radio chums single-handedly revived a laidback, country-rocking West Coast sound famously pioneered in the late ’60s by Gram Parsons and The Flying Burrito Brothers. The band’s spacier second album, Once We Were Trees, flirted with psychedelia. And by 2003, it had said its peace—and it was left to the likes of Fleet Foxes to win over the indie masses with CSNY harmonies and flower-power earnestness in folk-rock 2.0, all territory the Sparks had well under control.

Beach House

Review: Beach House’s Bloom

Beach House: Bloom

Beach House: Bloom (Sup Pop, 5/15/12)

“Myth”

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Two years ago, Baltimore-based dream-pop duo Beach House released its best effort to date with Teen Dream. The album took the band’s gift for crafting atmospheric, melancholic synth pop to an entirely new level. The band’s writing was tighter, cleaner. The songs themselves were suffused with nostalgia and heartbreak. It took the band’s signature style — droning organs, echoing guitars, digitized beats, and gorgeous vocals and lyrics — and refined them to the point where a successful followup seemed unlikely.

Father John Misty

Review: Father John Misty’s Fear Fun

Father John Misty: Fear FunFather John Misty: Fear Fun (Sub Pop, 5/1/12)

“Hollywood Forever Cemetary Sings”

[audio:https://alarm-magazine.com/wp-content/uploads/2012/04/Father_John_Misty_Hollywood_Forever_Cemetery_Sings.mp3|titles=Father John Misty: “Hollywood Forever Cemetary Sings”]

Everyone who wants to see a man rip his arm off and beat himself with it, line up here. It’s opening day for Joshua Tillman’s new act, and he promises some violence as part of the transformation from J. Tillman as Sad-Bastard Acoustic Folk Singer to J. Tillman as Father John Misty, a new moniker for a new style and new album, Fear Fun.

50 Unheralded Albums from 2011

50 Unheralded Albums from 2011

In just one more trip around the sun, another swarm of immensely talented but under-recognized musicians has harnessed its collective talents and discharged its creations into the void. This list is but one fraction of those dedicated individuals who caught our ears with some serious jams.

Washed Out

Pop Addict: Washed Out’s Within and Without

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

Washed Out: Within and WithoutWashed Out: Within and Without (Sub Pop, 7/12/11)

Washed Out: “Amor Fati”

[audio:https://alarm-magazine.com/wp-content/uploads/2011/07/Washed-Out-Amor-Fati.mp3|titles=Washed Out: “Amor Fati”]

In 2009, indie-electronica novice Ernest Greene appeared on the scene under the moniker Washed Out, offering an accessible and diverse dose of new wave with the impressive Life of Leisure EP. The debut recording delved into a re-imagined electronica sound, taking cues from mid-’80s synth heavyweights and incorporating a modern twist. It was a very bright start, but it was only a matter of time before Greene’s fresh, revitalized “chillwave” sound was put to the test on a full-length effort.

Two years later, Washed Out has returned with a proper LP — Within and Without — that expands on that initial, unique sound. Employing a glut of synths and electronic beats, Washed Out has taken new wave to a whole new level, modernizing the sound and legitimizing the genre. Mixing slowed dance beats with synth-heavy arrangements and various electronica ornamentations, Washed Out has put together a solid, unified offering.

Within and Without’s soothing soundscapes stem from the standout opener, “Eyes Be Closed.” Integrating waves of synth with steady drumming and atmospheric strings, the track moves fluidly, fluctuating between Washed Out’s subtle yet complex inner workings. There are a lot of things going on musically, with ocean-like soundscapes pulling in and out, shoring up with spastic, spaced-out keys and a sea of, well, “washed out” and reverberated vocals that submerge into the rest of the song, becoming musical textures within themselves.