Amoeblog

My Top 50 Albums of 2012

Posted by Billy Gil, December 17, 2012 07:24pm | Post a Comment

50. Purity RingShrines

purity ring shrinesPurity Ring make Cocteau Twins­-style dream pop by way of Salem’s hard-hitting witchhouse on an album more notable for its smooth blending of related genres than for its actual songwriting, but they’ve got a sweet sound nonetheless.

 

 

49. Cold ShowersLove & Regret

Cold Showers Cold Showers’ short and sweet debut heralds the arrival of a great new L.A. band, beaming shoegaze guitars over darkwave synths and goth-style vocals. (Read my review of Cold Showers' show here.)

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Album Picks: Melody's Echo Chamber, Chris Cohen, The Soft Pack, Lavender Diamond, Plus Albums Out Tuesday

Posted by Billy Gil, September 25, 2012 04:30pm | Post a Comment
Album Picks:
 
Melody's Echo ChamberMelody’s Echo ChamberMelody’s Echo Chamber
 
My favorite new band out right now is Melody’s Echo Chamber, whose enchanting self-titled debut is a study in ebullient dream-pop perfection. The story goes that Melody Prochet hooked up with Aussie psych-rock greats Tame Impala, calling on the band’s Kevin Parer to beef up her beauteous, French-pop-inspired arrangements with the kind of soaring sonics employed by that band. What comes out is indeed a perfect marriage. It’s one of those records where the cover perfectly captures the mood: mysterious, colorful and ethereal, you get lost in the folds of this record and don’t want to come out. Fans of Broadcast and Blonde Redhead, take note. The only downside is that aside from a few strong standouts, like the garage rocky opener “I Follow You” and lush (and Lush-esque) “Endless Shore,” the record blurs together. No matter — for fans of this kind of thing, you won’t know where the time has gone. As with like-minded peers A Sunny Day in Glasgow, the emphasis is more on album as experience, following dissociative dream logic in which melodies and arrangements are allowed to meander and linger and flow into one another in a singular happening. In a word, divine.
 
 
Chris CohenChris CohenOvergrown Path
 
Chris Cohen is one of the great underappreciated guitar players of our generation — listen back to Deerhoof records from when he was in the band for proof of his and John Dieterich’s insane riffery and interplay. Since leaving that band, he’s spent time with projects such as Cryptacize, but now on his first solo album and John Cale Paris 1919 moment, we get to see what a strong singer, songwriter and arranger he is, as well. “Monad” opens the album with the sort of skewed guitarwork that will make early Deerhoof fans squeal, but that quickly fades into a brisk, smart soft-pop track punctuated by splashy drums, not unlike one of Yo La Tengo’s more ornate songs. Cohen packs his intricate guitarwork into skilled compositions, such as the Latin-psych vibing “Caller No.99,” in a way that was never as apparent in his flashier Deerhoof contributions. Though his voice is unremarkable, its nice-guy pleasantness carries listeners swiftly through mellow but tricky compositions, avoiding the sort of fussiness that could have resulted with punchier performances. By the time you arrive at the sweet “bum bum bum bums” of the irresistible “Optimist High,” you’re floating on a cloud of contentment and ready to follow Cohen just about anywhere. Overgrown Path is really the perfect fall album, cozy and warm and subtly, almost magically, life-affirming.
 

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Local Roundup: New Tracks from FIDLAR, SFV Acid, Vex Ruffin, Whirr; New Videos from Chris Cohen, Spaceships

Posted by Billy Gil, September 7, 2012 01:00pm | Post a Comment
fidlarFIDLAR – “Cheap Beer”
 
Like some unholy marriage between Black Flag and The Cramps, FIDLAR’s “Cheap Beer” is pure aural fuck  — “I DRINK CHEAP BEER SO WHAT FUCK YOU.” There’s more subtlety there within than that would imply — sweet little surf riffs, excellent solo, smart dynamics, perfect production without being self-consciously lo-fi. But the thing the L.A. band offers uniquely is that clear-cut dynamite party chorus, a rarity in the days of reverb-awash garage rock. FIDLAR’s deubt album will be released in early 2013 on Mom & Pop.
 




sfv acidSFV Acid – “Ashland Slumber”

 
This nasty bit of indie electro-house comes from L.A.’s SFV Acid, who sound like they’re coming into their own with this latest slab of sublimely grimey dance music. “Ashland Slumber” sounds a bit like Detroit house blasted out of shitty speakers and garnering extra feedback and reverb in the process. I love how lush the synths are vs. the brutality of the beats. Harsh, weird fun stuff. The Neighborhood Archives EP is due Oct. 15 on UNO.
 

 
vex ruffinVex Ruffin – “Take It”
 
Gnarly, nasty one-man-band punk out of L.A. Vex Ruffin’s “Take It” rides its bone-simple riff and drum machine (I think? It might as well be.) to great heights on Ruffin’s balls to the wall vocal. It’s kind of the punk inverse of Dirty Beaches’ one-main rockabilly noir. His debut LP is due next year on Stones Throw.
 

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