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Local Bits: New Tracks from Princeton, TRMRS, Races

Posted by Billy Gil, February 10, 2012 11:26am | Post a Comment
princetonPrinceton – Florida

Princeton have gotten increasingly pop-oriented and more electronic over the past couple of years. “Florida” is the latest example of their evolution, a richly detailed Rhodes piano-led driving jam that feels like cruising beachside, either in Miami or their native So. Cal. Check out its Cosmic Kids remix too for even more chill vibes. Princeton play Café Bleu Feb. 16, and their new album, Remembrance of Things to Come, is due Feb. 21 on Hit City U.S.A./Easter Everywhere.

 

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Album Picks: Real Estate, Twin Sister, M83

Posted by Billy Gil, October 18, 2011 02:10pm | Post a Comment
Real Estate DaysReal Estate – Days
 
Real Estate have helped usher in a contemporary appreciation of bands with clean guitars and hushed vocals, perfect for a summer day or autumn night. But Real Estate still do it better than anyone, as they prove on Days. From opener “Easy” and on, Days floats on breezy simplicity of melody and atmosphere that you could explain away as through line of Byrds by way of R.E.M. jangle pop informed by reverbed-out, dream pop aesthetics, but that would paint Real Estate as a throwback band when really their sound is their own. Country hues underpin even the spaciest of tracks, like the way winsome sliding guitars sway beneath the shivering, tremoloed star-shooting guitar lines of “Green Aisles,” and more obviously so on tracks like the springy, Smithsy “It’s Real,” which works some clever chord changes into a straightforward guitar-pop setting. Singer Martin Courtney’s voice is always plaintive but never intrusive, and the whole thing moves with subtle evocation, like a sepia-toned suburban home movie reel. It’s no coincidence a great, sunlit song on the album is titled “Wonder Years.”
 
Twin SisterTwin Sister – In Heaven
 
Twin Sister’s debut full-length delivers a band still emerging from chrysalis (their average age is now about 23, so says Wikipedia) but born with some pretty impressive power already. Roughly, Twin Sister are an indie pop band fronted by some froggish, androgynous vocals (singer vocalist Andrea Estella and guitarist-singer Eric Cardona both sound a little like the spawn of Sigur RosJonsi and St. Etienne’s Sarah Cracknell, the latter band of which they also sound a bit like on the lite-jazzy “Stop”). They touch on chillwave (the shimmering and strange chords of “Kimmi in a Rice Field” is the album’s absolute highlight) without committing to it, seemingly more interested in vibing late ’80s indie and video game music — the gentle “Luna’s Theme” has Sega Genesis written all over it, something that might be playing in some anime space station. But whatever Twin Sister ends up doing —be it cool Britpop, neo-futuristic electro or something else entirely — it ends up sounding great, if not entirely unified.
 
M83 Hurry Up We're DreamingM83 – Hurry Up, We’re Dreaming
 
After a decade’s worth of brilliant albums that have been increasingly epic in scope, Anthony Gonzalez of M83 has delivered the masterpiece he has hinted at for years. Gonzalez builds off the life-embracing yet ’80s nostalgic pop of 2008’s Saturdays=Youth across this double-album. Taking a hint from the Smashing PumpkinsMellon Collie and the Infinite Sadness, Gonzalez sweeps through childlike wonder (the children’s story as Kraftwerkian computer-pop of “Raconte-Moi Une Histoire”), adolescent angst (the two and a half minutes of skyscraper-sized orchestral rock in “My Tears Are Becoming a Sea”) and young adult excitement (Gonzalez cries “The city is my church!” in the neon-backlit “Midnight City”) to capture the wide-eyed energy and naiveté of youth. There’s newly an emphasis on the kind of shuffling ‘80s funk-pop of the likes of Huey Lewis & the News and Hall & Oates in songs like “Claudia Lewis,” but it actually feels less throwback-ish than some of his previous work, perhaps in part due to contemporaries like Toro y Moi and Neon Indian similarly fusing such sounds with shoegazer aesthetics. Indeed, with the kinds of sonic dreamscapes of albums like Dead Cities, Red Seas & Lost Ghosts and Before the Dawn Heals Us also in tow on songs like “This Bright Flash,” Hurry Up, We’re Dreaming presents us with all of Gonzaelz’s best tendencies, all at once, and at their utmost potential.

The '80s List: Part 10

Posted by Amoebite, September 2, 2011 12:46pm | Post a Comment
Wipers One day at Amoeba Hollywood I proclaimed that Aztec Camera's 1983 release High Land, Hard Rain was one of the best records of the '80s. This single statement eventually led to over 200 Amoebites ranking their top 10 favorite albums from the ‘80s.

From the beginning we realized that it was impossible for most of us to condense our favorites from all genres into a tiny top ten list. So, we limited our lists to Rock/Pop and its sub-genres like punk, metal, goth, and new wave. Even so, it was a difficult selection process because not only are there hundreds of amazing records to consider, there is also the added dynamic of time.

The '80s were a long time ago and the music has had many years to gestate. We have a deep sense of nostalgia and sentiment with these albums as our fondest memories are associated with them. These are albums we LOVE.

- Henry Polk

P.S. We'll be posting new additions to the '80s list project from Amoeba staff members on Mondays, Wednesdays, and Fridays. See all entries in our ‘80s list series.

P.P.S. The '80s List Book is available for sale at Amoeba Hollywood.


Heather Long

Pixies Doolittle (1989)
Husker DuZen Arcade (1984)
Judas PriestBritish Steel (1980)
X – Los Angeles (1980)
PretendersPretenders (1980)
The Cure – Disintegration (1989)
The ClashLondon Calling (1980)
Duran DuranRio (1982)
Iron MaidenThe Number Of The Beast (1982)
Adam And The AntsKings Of The Wild Frontier (1980)

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The '80s List: Part 8

Posted by Amoebite, August 29, 2011 02:32pm | Post a Comment
OnJoan Jette day at Amoeba Hollywood I proclaimed that Aztec Camera's 1983 release High Land, Hard Rain was one of the best records of the '80s. This single statement eventually led to over 200 Amoebites ranking their top 10 favorite albums from the ‘80s.

From the beginning we realized that it was impossible for most of us to condense our favorites from all genres into a tiny top ten list. So, we limited our lists to Rock/Pop and its sub-genres like punk, metal, goth, and new wave. Even so, it was a difficult selection process because not only are there hundreds of amazing records to consider, there is also the added dynamic of time.

The '80s were a long time ago and the music has had many years to gestate. We have a deep sense of nostalgia and sentiment with these albums as our fondest memories are associated with them. These are albums we LOVE.

- Henry Polk

P.S. We'll be posting new additions to the '80s list project from Amoeba staff members on Mondays, Wednesdays, and Fridays. See all entries in our '80s list series.

P.P.S. The '80s List Book is available for sale at Amoeba Hollywood.


Kristen Frederick
The Dream SyndicateThe Days Of Wine & Roses (1982)
The Clash London Calling (1980)
The SmithsThe Smiths (1983)
Roxy Music Avalon (1980)
Ultravox – Vienna (1980)
The WaterboysA Pagan Place (1984)
Echo & BunnymenPorcupine (1983)
The Psychedelic FursTalk Talk Talk (1981)
New OrderPower, Corruption & Lies (1983)
OMD – Architecture & Morality (1981)

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The Big Pink and A Place To Bury Strangers Heart Feedback

Posted by Aaron Detroit, September 22, 2009 05:00pm | Post a Comment
If the gentlemen of London’s The Big Pink and New York’s A Place To Bury Strangers are to have their way this fall – you will have a serious case of tinnitus by Winter Solstice via their dark-veined noise-pop. Both bands love the volume loud, worship at the alters of 80’s Gloom-Pop and early-‘90’s Shoegaze, and both have new releases out in the next month. While both bands paint with Kevin Shields’s and Daniel Ash’s brush-strokes each band shades their canvas quite differently and uniquely.

The Big Pink signed to cult-label 4AD this year. The team-up couldn’t have been a better fit as the duo’s tunes could slide in nicely in a playlist alongside tracks from the label’s 80’s and 90’s roster of ethereal and gothic-leaning releases. They also share with their predecessors a keen eye and love
for packaging their music -– a dying art form for sure --adding dimensions to the music and an additional keyhole into the universe the band has created within their sound. The band’s pre-4AD releases of dead-sexy lo-fi electro vs. feedback bliss-outs were accompanied by homoerotic and ethereal sleeve artwork by Dennis Cooper (The duo also borrowed the title for their song “Frisk” from Cooper). The band’s newly polished, less-amorphous and refined sound (courtesy of major league mixing-czar Rich Costey) featured on their debut LP, A Brief History of Love, is issued with a murky, blurred and slightly unsettling cover photo of a bare-chested woman - insinuating and helping inject a similarly subversive sexual tone of their indie releases into the hazy pools of stoned reverb and romantic wistful grooves of the new album.

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