The Dear Hunter - Act III: Life and Death

The Dear Hunter story so far....a Boy is born to a woman who moves away from the city life to the lake and the river, is brought up and forms a close bond with her. The mother dies and the boy goes back to the city to discover his mother's previous life, in doing so falls in love with a prostitute who breaks his heart causing him to flee and join the army...and so begins Act III of the six part tale of The Dear Hunter. Mr Crescenzo the man behind the musings claims that the story is a romanticized version of his own life, so it is deeply personal which translates to the music he writes and the lyrics he pens and while some (very few) label his ambitions as pretentious, his humble persona (i've met him in person) would suggest otherwise.

Act III is astonishing to say the least, set amidst World War One the main character (known only as the Boy) fights not only the battles of war but battles within himself as he comes ot terms with Ms. Leading. The concept is drenched in drama and set in a world like no other, as is the music. Fans of genre bending will love this but it does not verge on the pretentious metre one bit, as the music adequetly reflects the era of which the story is set. Cresecenzo writes chronologically well with the delicate and refined 20's feel of sweeping strings permeating a good portion of tunes on this record - not overbearing but enough to set the scene of the moment - and god is it done well. Saved beckons with sweeping string arrangements and wonderous vocal harmonies while Mustard Gas turns the epic meter to 11 with a full blown orchestration, gang vocals, and guitar driven frenzy.

While Casey and Co set the scene perfectly well they also accomodate for the darker things of war, the four part series of tracks early in the album represent the evils of battle - The Tank signifies destruction in an aural assault of ominous strings, powerful vocal delivery and frenetic drumming; The Poison Woman offers a ragtime affair of bluesy jostling while closing with probably one of the most memorable moments of the record (there are many btw) involving a sax singalong climax; The Thief conveys greed with its rolling almost Radiohead-esque bassline sprawl as it bends it's way into the aforementioned Mustard Gas.

Not unfamiliar with balladry the band shwocases it's softer side throughout this aggresive album in Saved incorporating sweeping string arrangements, pulsing rhythmic drums and layered harmonious vocals, and in What It Means To Be Alone we are treated to a pop masterpiece chopping and changing all throughout. The Dear Hunter command attention in He Said He Had A Story rollicking around behind a marching band of horns that just ooze sexiness in the breakdown.

I'd go on and on about every solid song on this record but i'd be writing forever, i will highlight the albums final three tracks which incorporate everything from dramatic ballroom romanticism to ultimate guiatr heroics from the one and only Erick Serna, and i'll leave the review at that, as you really have to let the album do the talking for itself...

Buy the album via links in their myspace - here

Kill and Eat - Green Bushes (alright now records)

Kill and Eat's record Green Bushes is a sparse and challenging listen. Released in 2008 and awarded a re-run and set free on March 31st 2009, the three track jazz trip can be described as a tidy clusterfuck of jamming between a few friends and an amalgamation of simple ideas to form complex arrangements. No, I don;t really understand what i mean, so i'll lay it out for you.

Green Bushes leads off with the 18 minute title track, ushered in by quavering vocals that never quite seem to find their place but still managing to carry the delicate piano in the background. The two elements compliment each other and somehow manage to (after a few listens) click in your head. At the five minute mark the piano sways and rolls in like constant breaks on a winter's beach growing with intensity, informing you that soon these breaks will pull further in with intricate fingers on the keys.

It is at this point that the song opens up and experimentation begins with the piano rising and falling from whence it came. Just before nine minutes we hear slight hints at what is to come, the song begins to form its main centrepiece as light taps of wood on metal permeate through a smoky jazz bar piano solo. Mmmm yes this is why it takes 10 minutes to build, because when it does it is beautiful. Before long what i can only make out to be a muted trumpet is introduced to the mix adding another layer of complexity before the song make its final dash to the finish line with triumphant emotion.

The remaining two tracks offer the listener a sketch of what the former song built itself to, offering an upbeat vocal pattern, which at times repitive, gives way to an upbeat piano solo that keeps your feet tapping as drums hold tight the jazz pop cacophony. Closing the album is "Elipses" which to me is a perfect way to cap off the journey that this 30 minute record offers you, complete with distorted trumpet, a piano melody that brings a smile to your face and work on the kit that flows underneath it all.

This music is definately new ground for myself, the jazz fuck-a-bout style that is the first track afetr repeated listens doesn't come off so much as messing about as it does a genius way to build to a pleasant conclusion - and is only complimented by the two 'sketches' that round off a solid effort from this little-known American duo.

You can download the album and donate HERE

Also, check out he label Alright Now Records

So Quiet - Summer and Winter

So Quiet is the music project of Tomasz Bień, a young Polish architect and graphic designer, who is also part of the duo At Home. The album consists of delicate acoustic soundscapes and refined electric accompaniments that produce a dreamy, lo-fi wonderland.

His songs craft themselves as they build with tiny pianos and child like acoustic guitars while being lathered with playful synths and organs that carry an organic feel of floating on air. Falling asleep tot his is bliss.

Saltillo - Ganglion

It is with great pleasure that i dedicate the blogs one hundredth post to this album. I don't know why I havn't posted this yet, in fact it astounds me that I have not. This album encompasses beauty and pain and all that comes in between. Songs of distant love and confused madness characterise this collection of beautifully orchestrated tracks.

Believe it or not, this record is the work of one man and his many instruments - soldering together the earthliness of strings and delicate female vocals with out-there electronic beats and texture. Saltillo succeeds in drawing influences from all realms - whether it be the native indian vocalisations on "Grafting" or the western slide guitar of "I'm on the wrong side" he manages to present a focused and enigmatic portrait of the modern neo-classical sound.

Bark Cat Bark - Á Lífi

It is 1:47 am and I am sitting here writing this review. I do not know where to start. Maybe I should lead off by highlighting this young man's age - he is 18 years old. That's younger than me. The musical maturity displayed on this record is comparable to that of modern classical composers such as Max Richter or Kashiwa Daisuke - at such atender age this French native has crafted an eclectic record that showcases his relentless ability to combine the rich and engaging history of French folk and European historical stylings with the modern electronic swaray is breathetaking.

The opening track Verona invites the listener to have a taste of everything Josh Todd has to offer - a 10 minute meditation around a simple idea to showcase hiss multi-instrumentalist talents - most notably on the piano and acoustic guitar, but ranging from accordian to violin. Much of this record can be compared to Zach Condon but i find a much more sombre mood in Todd's compositions, as well as a lot more variation between the elctronic and the historical musical citations.

It is his solo piano piece that marks the centre of the album that really drives home the fact that this teenage prodigy is the real deal. Père Lachaise is this centrepiece and if it does not move you i do not know what will. It's contemplative and evocative - just sit there, with the lights down and no distractions please...because this album will take over.

Lover, The Lord Has Left Us... - The Sound of Animals Fighting

This, the supergroups first full length was somewhat of an ordeal for myself. I bought it expecting something along the lines of their first effort - the Tiger and the Duke EP. What i got was completely the opposite. Looking back i must have been completely ignorant - i didn't even give this record a solid chance - i threw it at the back of my collection vowing that it was no more than a drinks coaster to me. So about a year later a came back to it, and i'm glad i did because it is quite an acoomplished album.

This is a record that is built on collaboration and guest efforts which stretch far and wide - it is a very ubiquitous and demanding listen, but once you let yourself go and fall into it's trap you won't look back. The music holds beauty and groove liek no other, and commands the listener to expect more from each track. My Horse Must Lose is a slow groover which is irresistably chilled while the heavy bass/electronica of Horses in the Sky is complemented beutifully with a rocking chorus. The albums highest point however is the Heretic - a song that is full of beauty and balladry that will have you coming back again and again.

Soil and Pimp Sessions - Pimp Master

Another japanese band to showcase here at Whatever Takes Your Fancy - did anyone say Jazz? how about psycho jazz? or death jazz as it has been described. I love me some jazz music, you know the laid back kind that you can chill to - so when i first played this album i obviously had no idea what i was getting into - luckily the tunes hit me like a freight train and my face was melted by amazing musicianship and funky ass dance floor jazz. You really feel the energy dripping off these guys as they play - its fun and frenetic and damn right catchy - tight intense drumming is backed by alarming horns, thumping bass and one hell of a crazy frontman who is supposedly only there for the entertainment factor during live shows - do yourself a favour and check this out...

Dir en Grey - Kisou

Long before Dir en Grey sort of sold out to the tidal wave of nu-metal lingered a dark, disturbing yet delicate visual kei band - straddling the line between metal, melodic punk, and beautiful pop balladry. It was from Gauze to (and i am hesitant to say so) Vulgar did Dir en Grey own the j-rock arena - producing interesting, forward thinking rock music for the masses who ate it up gleefully.

And why wouldn't they? With a pulsing drummer, off-kilter and menacing guitar work with a bass that would rattle your walls. The real selling point of the band however lies in Kyo's rather intriguing vocals. He is a nutter, to say the least - utilising his voice to maximum capacity with an emotive singing voice, harsh screams, and noises that i would describe as out of this world.

What is great about this album is it's diversity - Dir en Grey stretch their imagination from the hard hitting punk opener Kigan to the electronica driven beats of Shinsou. Standout ballads are also apparent with the beautiful 24 Cylinders and the harrowingly painful Mushi.

Anathallo - Canopy Glow Review

I think i've fallen in love with this album, much like i did with floating world - but this one just leaves some sort of resonate beauty in the air surrounding my speakers. I received this in the mail today, pre-ordered of course and i watched as my girlfriend stole it from me and opened it so i wouldn't be overun with excitement, alas it was handed to me and it graced my eager hands begging to be opened and played.

Overall, this album plays like a journey through life, and if time permits ill have a bit of an interpretation up in a few weeks. The recurring themes of birth, lifes experiences, ageing and death seem to peek through the songs lyrical content as they're intertwined with wonderfully crafted melodies and harmonized vocals. But then again, what more would you expect form Anathallo? On this, their sophomore effort, they have opted for tighter song structures as opposed to the sparceness and general complexity of Floating World (not that that was a bad thing!). This focused song writing is however a blessing and holds the record with much more restraint and allows it to ebb and flow effortlessly.

I'm going to review the songs individually as i don't want you to miss out on any of the juicy bits this album presents the listener with.

Noni's Field - The album kicks off with shakers and an upbeat intro track. This song has been around for agggges but still gives me shivers of joy each time i listen to it. Anathallo trademark vocal harmonies are abundant surrounding a prominent piano, hand claps and warm fuzzy bass frollicking around the mix. The song is pure bliss (given the theme is detah) and ends with beautiful string arrangements. (9.5/10)

Italo - Italo has this irresistable charm to it. Erica's vocals lift up and bound with pace. It's a genuine sing-a-long track that while jumping and electric it is oceanic in stature. I think they use bricks rubbed against each other in this? Almost as pretentious as the velcro they used in Floating World - but it works, so well. I needn't say more. (10/10)

Northern Lights - Ushered in by the engine of a church organ and what appears to be shuffling feet this would have to be the most beautiful song on the record. Half way through, when everything stops, and the delicate bells are tinging in your ears is one of those moments that just make you sit back and reflect, on everything that you've ever experienced. I've been trying to pinpoint a nice phrase for this epiphanic point - all i can say is my heart stops. Amazing. (10/10)

The River - The lead single fromt he album and it is one of the most catchy and growing songs on the cd. The good thing about Anathallo is there is always somethign to discover on each listen. It is truly a headphones album. So how is this song? It's singable, it's danceable, it's a cacophony of pianos, strings, horns and a myriad of intriguing instruments that guide you to wonderful places. (10/10)

Cafetorium - From what i can gather a biblically influenced song. I've heard that Anathallo's religious roots turn a lot of people off which i think is very unfortunate. Their ability to tell a story, a religious one at that and incorporate it into their own unique style is amazing and should not be overlooked, and this is no exception. (9/10)

Sleeping Torpor - Another delicate song, Erica's voice gives you the impression that if you drop her she'd break, and this is what i like about her vocals on this album. This track would to me best fit somewhere on Floating World - it has the odd and burstly horn sections, slow burning tempo and distinct querkiness. In the context of this record it fits perfectly in the middle and gives the listener a break before entering the second half. (8.5/10)

All The First Pages - A masterpiece. This is my favourite track, although it is very hard to choose one. The way this song constructs denoument is entirely what makes it. The first half is dedicated to building a foundation block that lifts the second half of the song into the stratisphere - sweeping strings and perfect vocal harmonies drag you in and don't let you go. The percussion is what holds it all together though, showcased well on this track. (10/10)

John J. Audobon - Once again we are treated to the exubrant playfulness that Anathallo is known for. Backing vocals carry themselves behind the leads flowing and discordant lyrics to make for an ec lectic and engaging song. (9/10)

Bells - This song is quite a concept, it is built entirely from hand bells found in the church where the band played and practiced in Chicago. I get the feeling the song is about ageing and losing your mind, losing sanity and about the diminishment of memory. It is sad, and brooding, harrowing even - but i wonderful observation of the challenges life throws us. (9/10)

Tower of Babel - The album finishes with a gentle, calming and sombre affair. It is a song that engages throughout and even gets me singing from time to time. I think it was th eperfect way to close this album - it is dark and contemplative - what the album seems to posess as a whole - and it is done to perfection. (10/10)

Overall Score: 93/100

Beirut - The Flying Club Cup

You wouldn't believe this early twenty something hails from the good old US of A because his sound is ridiculously European and flavoured. It is an amazing achievement at his tender age that he releases such a stunning and cultured album of tunes - what amazes me more is his mastering of many of the instruments on this record.

The album itself covers alot of Balkan territory utilizing anything from brass instruments to full blown string arrangements. It is somewhat of a refreshing blast from the past and takes you on a wonderful journey - his voice is equally amazing and powerful with a passionate and evocative pull for the listener.

For Caz