Music Review: Beach House - Devotion (2008)

To be honest, the record sounded a tad boring upon first listen. Then, a reverse of events after a few listens occurred, proving once again that good music sometimes need extra observation and time investment to be appreciated.

An essential component of this record is a special moment of every song, which can transform seemingly ordinary songs into good ones. "All the Years" has Victoria Legrand's heartfelt vocals resonating 'of all the years to come...' with 'All my devotion/Compelled by an ocean (emotion)' further proclaiming her undying love for something or someone, continuing from where she left off in Beach House's "Saltwater".

Hawaiian guitar riffs and licks often soak Devotion, giving it a sunnier overall mood than in their previous record. Legrand's vocals usually pull back the songs into sombre mode. However, her voice sounds more convincing this time around, albeit still achingly heartbreaking in even her happier tunes.

The delicate and Asian-sounding guitar riff in "Some Things Last a Long Time" backed by effective gong beats is rather addictive. And please do check out the effect of backward-like guitar towards the end of "Wedding Bell". The songstress also dishes out 'Oh, is your heart still mine to sail?' in that track.

"Gila" (pronounced as 'hila') is Devotion's answer to "Master of None". The other half of Beach House, Alex Scally, also contributed many amazing yet simple guitar leads for Devotion. Both he and Legrand still have twin haunting effects on listeners.

Suffice to say, this record's hidden melodies, sweet guitar, organ and slightly upbeat sounding vocals add new dimension to their transalvanian sound. Keep those haunting and seemingly heavy tambourines rattling for a dark Christmas, BH.

80%

Fleet Foxes (2008)

The fleet foxes might look like hippies but make no mistake about it, they are quite the opposite. Fleet Foxes's self titled debut is a journey into bewilderment filled with lush instruments and strong vocal harmonization that makes it sounds earthy yet like nothing you have heard before. The album start with "Red Squirrel" a late night bonfire singalong type tune with leads into the gorgeous "Sun it Rises" a track that pretty much kicks off the album much like the rising of the sun replacing the pale moon light. The album then flows smoothly onto the catchy "White Winter Hymnal". The momentum of the album stays constantly strong throughout with beach boys inspired accapella's to the huge megaton choruses of "Your Protector", but there are still surprises for the second last track of the album is what makes the foxes a band to watch. "Blue Ridge Mountain" is a like a trip back home, when you've been away far too long and all kinds of emotions hit you all at once. The album ends with a somber "Oliver James" which actually sounds more desolate that it actually is partly because of "Blue Ridge Mountains". Proving that sometimes the journey is much more precious than the destination itself.

Fleet foxes is an instant american classic, which reminds us that inspiring music can come from anywhere and sometimes its closer to our earthlier roots than you will ever imagine. This year with the bear and the monkeys in hiatus, this surely must be the year of the fox.

Grizzly Bear - "Two Weeks" (live on Letterman)

The sweet keyboard rhythm played by Daniel Rossen paves the way for his three other Grizzly Bear mates and invited Thomas Bartlett aka Doveman to strut their stuff. Edward Droste's lead vocals are very commanding indeed if not refined (backed up by bassist Chris Taylor's nice harmonizing vocals, who has an uncanny resemblance to Norwegian footballer John Arne Riise).
During the chorus, there are two sets of pull off-like three notes which seem as though a space probe is shooting message waves, rays and beams, ultimately stimulating our auditory nerves.

Somewhere in the middle of the song, a short respite occurs for the keyboard to churn and chug out an electric guitar-like riff. Christopher Bear's creative drummings remind me of that from GB's "Little Brother (electric)". "Just like yesterday, I told you I would stay" and other lines especially the chorus are belted out with oh-so-sweet infectious melodies.

GB further stamp their mark as classy music crafters and a formidable live act. They shouldn't be sorry for the slight delay of this treat. It is very rewarding to finally listen to it. And while you and I wait for their other musical servings, bear in mind that the offerings will have solid appeal too if "Two Weeks" is of any indicator. With "Two Weeks", GB will attract more avid listeners just like ungluing David Letterman off of his hot seat to approach them on stage.

Music Review: Air France - No Way Down EP (2008)

An Anime-styled 'kawaii' line slides between "Collapsing at Your Doorstep" for a few slots. I don't understand what the 'Anime' girl uttered but it seems to me that she sounds excited and eager to reach to someone obstacled by the door, calling out for that person. After a desperate sprint through a few blocks, I presume, she goes down with a 'thud' at the porch, panting. "Collapsing at Your Doorstep" starts and signs off with an exhortation '..., better', reminiscent to OK Computer's androidan "Fitter Happier".

Mood-opener tambourine, delicate palm-muted guitar, whistles, gentle percussion, heavenly harp, violins and flutes are often masterfully paint brushed from an audio palate in this EP. A blissful marriage of sounds and instruments is the main product here. The cinematic "Maundy Thursday" is so effectively and inspiringly arranged; its energy musn't be underestimated. This song is after all a pre-celebration of resurrection.

Voice segments, including intimate love-calls and an eerie-sounding old man that will not feel out of place in Pink Floyd's Dark Side of the Moon, fill some areas of the EP. Record label Sincerely Yours has a good ally in the form of a Scandinavian compatriot duo.

Infectious beats and triumphant trumpet soar through the stratosphere of "June Evenings". The flute gorgeously layers the regions of that song in an aurora-like effect. (The flute part reminds me of The Smiths' "There is a Light that Never Goes Out".)

Chipmunk audio bits seem to drizzle together with the cascading harp notes, coming to the brilliant synthesizer fraction for a final 'no excuses left,...' part in the fourth track. "No Excuses" had me thinking that Sean Kingston sang in it. With this EP, 'surely Air France can take you there', flying first-class.

90%