M83 – Saturdays = Youth

Pitchfork review
*this one has been out for a while now, i think. but i know we’ve had a few requests of albums that pitchfork features in their reviews. so i thought maybe i’d try to be one step ahead of the game, so i posted it when i saw the featured review. enjoi.

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Gregor Samsa – Rest

so i just started contributing and i’m already going nuts. but sharing is good.

hmm.

gorgeous vocals, heaps of atmospheric layers, lush yumminess.
all the sites with info about this album say they’re releasing it april 08, so i think this is still in its drippy leak status.
enjoy

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Immanu El – They’ll Come, They Come

Immanu El’s music is simply heavenly in all aspects of the word. Their lyrics are loosely related to Christian beliefs, and the music is very atmospheric and prefers to stay subtle. The vocals sound very similar to those of Sigur Rós, but are sang in English.

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Lali Puna – I Thought I Was Over That: Rare, Remixed, and B-Sides

Lali Puna sounds like glitched-up version of Air. Plus, they have a sweet band name. And the little bunny is wearing headphones in the artwork. Its a grand slam.

Of note: This collection features a remix of “(This Is) The Dream of Evan and Chan”, a song by Dntel (Jimmy Tamborello), featuring the vocals and lyrics by Ben Gibbard. When the song was released, it was so well-received that the two collaborated on a full-length album, Give Up, which they released as The Postal Service in 2003.

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This Will Destroy You – Young Mountain

A 6-song, 36 minute composition of aural brilliance.

Much like Explosions in the Sky and Mono, This Will Destroy You use their instruments expertly to create a brooding anxiety that threatens to erupt at any moment. They often build in traditional instro-post-rock fashion, starting calm before growing to a dense wall of guitars and cymbals, but they never really feel bound by that formula. The opening track, “Quiet”, is more about repetition than evolution, as once the instruments kick in early in the song, they don’t spend much time further developing the melody. That’s not a bad thing, though, because the atmosphere is there, hidden beneath the swirling guitar noise.

But mostly this is an exercise in controlled arrangements. The band employs its fair share of effects, especially delay and reverb, but rarely does the noise spiral out of control. “I Believe in Your Victory” bucks this trend, exhuding a more triumphant and upbeat spirit. All of the foreboding elements are still there, but a slight shift in the melody makes all the difference. “Grandfather Clock” also sets itself apart, this time with a skittering electronic beat that flutters behind the guitars and keys up front. These two tracks offer a brief respite from the bulk of the album, which is dark and intense.

Unfortunately, the disc ends far too abruptly. At a scant 36 minutes, this feels more like an EP than an LP. Given that Magic Bullet’s release is actually a reissue of what the band self-released last year, I can’t help but wonder if another song or two wouldn’t have strengthened it. After all, if you’re going to call your band This Will Destroy You, you damn well better. As it is, I feel like they’ve only delivered the initial blows.

-Cory D. Byrom, August 23, 2006

This post is This Will Destroy You’s 2006 EP. Here is their 2008 full length.

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This Will Destroy You – Young Mountain EP

A 6-song, 36 minute composition of aural brilliance.

Much like Explosions in the Sky and Mono, This Will Destroy You use their instruments expertly to create a brooding anxiety that threatens to erupt at any moment. They often build in traditional instro-post-rock fashion, starting calm before growing to a dense wall of guitars and cymbals, but they never really feel bound by that formula. The opening track, “Quiet”, is more about repetition than evolution, as once the instruments kick in early in the song, they don’t spend much time further developing the melody. That’s not a bad thing, though, because the atmosphere is there, hidden beneath the swirling guitar noise.

But mostly this is an exercise in controlled arrangements. The band employs its fair share of effects, especially delay and reverb, but rarely does the noise spiral out of control. “I Believe in Your Victory” bucks this trend, exhuding a more triumphant and upbeat spirit. All of the foreboding elements are still there, but a slight shift in the melody makes all the difference. “Grandfather Clock” also sets itself apart, this time with a skittering electronic beat that flutters behind the guitars and keys up front. These two tracks offer a brief respite from the bulk of the album, which is dark and intense.

Unfortunately, the disc ends far too abruptly. At a scant 36 minutes, this feels more like an EP than an LP. Given that Magic Bullet’s release is actually a reissue of what the band self-released last year, I can’t help but wonder if another song or two wouldn’t have strengthened it. After all, if you’re going to call your band This Will Destroy You, you damn well better. As it is, I feel like they’ve only delivered the initial blows.

-Cory D. Byrom, August 23, 2006

This post is This Will Destroy You’s 2006 EP. Here is their 2008 full length.

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This Will Destroy You – This Will Destroy You

You have heard it said, “Don’t judge a book by it’s cover.”
Well, don’t judge this band by it’s name.

This Will Destroy You is a post-rock from San Marcos, Texas, not a death metal band, as you might deduce from the band name. Their self-titled release mimics the silky sounds of Saltillo, Sigur Ros, and Explosions in the Sky. In my opinion, this release is better than the vast majority of Sigur Ros, and better than most efforts by Explosions in the Sky.

-read a review by Rock Sound

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The One AM Radio – A Name Writ in Water

The One AM Radio is the musical project of Hrishikesh Hirway, a composer and songwriter from Los Angeles. The sound is lush, soothing, almost ethereal vocals over dream-like instrumental arrangements. He does most of his own recording, playing several of the instruments and producing all the beats; the style borders electronica, folk, post-rock, chamber music, and ambient music. Live, he is joined by a changing line-up of accompanists.

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