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PHILIP SBWAY
Familial
Nonesuch
It's hard to approach Familial with
out a bit of bias, though it can go either
way On one hand, as Radioheads
drummer, Philip Selway s first solo
project deserves a serious look On
the other nand. it is still a solo project
by a drummer (Rmgo or Jon Fishman
anyone 7 ).
The album itsell is mostly sub
dued. textured sounds layered under
neath prominently featured acoustic
guitar and vocals, with surprisingly
little drum work at all Selway has
a soft, breathy voice, making many
tracks more akin to Sparklehorse than
Radiohead
The pedal tone and timbre of a
song like ‘Don't Look Down* even
recalls some of Brian Enos ambient
solo work That's not to say there aren't
moments that smack of Thom Yorke's
influence, such as the programmed
beats and backing vocals on 'Beyond
Reason.* but that's not a criticism by
any means
The album's overly sentimental
aura does occasionally cross the line
into cheesiness ‘The Ties That Bind
Us,’ while sincere, contains some
eye-roll-worthy couplets: ‘You my son
I held in my arms/ Close and keeping
you safe horn harm* sounds like a line
from a bad nursery rhyme The lyrics
in "Broken Promises’ are borderline
sappy and delivered in a sing-song
fashion Yet despite these few flaws
and even without giving it the "drum
mer solo project* handicap. Familial
stands on its own.
John Granotsky
Halcyon Digest
4AD
Cohesive to the core, Deerhunter's
Halcyon Digest brings to the surface
the intertwined elements of disenchant
ment and freedom that accompany
maturation and the passage of time
The fourth studio album of the Atlanta-
originated foursome. Halcyon features
guests on multiple tracks including
local sax player Bill Oglesby As
expressed by the title, indicative of a
collection of memories, the album con
veys a theme of life* patterns, marked
by awakenings, acceptance, loss and
coping, strewn together by memories.
The opening track. 'Earthquake.'
emanates shoegazing effects as
Bradford Coxs lead vocals are
embraced by the ambient-style guitar
line Conceptually, the title and sound
suggesting disruption or change, set
the trajectory for tracks to follow "Don t
Cry’ and ‘Memory Boy* include lyrics
harkening back to seemingly painful
times and requisite strength as in the
former's ‘Come on. kid' Keep your
head up and tight * The throwback
nature of these tracks is reinforced with
50s pop rifts and melodies, a style
also present in ’Coronado.* elevated
by Oglesby s ripping sax line
Interspersed in the track list are
Revival,* the lead single reminiscent
of a gospel-induced dance fever, and
'Sailing,' on the art of acceptance at
the expense ot letting go ol fear—the
only thing that ‘Can make you feet
lonely out here *
The final track, over seven minutes
m length, is a tribute to lellow musician
and friend Jay Reatard, who died last
wmter. 'He Would Have Laughed* is as
gorgeous as it is tragic, including the
expressively disenchanting line 'Only
bored as I get older * and annunciated
with a repetitive rift that inspires a feel
ing ot darkness but gives way to light
by the end If it's not obvious, a listen
to this thought-provoking piece of ad
is highly recommended
Sarah Savage
BROKEN SOCIAL
SCENE
Forgiveness Rock Record
Arts & Crafts
Is it possible to be too good at
what you do 7 Canadian collective
Broken Social Scene is back with its
third album, hnnging along its sham
bling, beautiful and wonderfully varied
brand o! indie rock
At first listen, the band's trade
marks are ali there lead singer Kevin
Drew's distinctive voice, the band's
uncanny sense of melody that rise- up
and out of the instrumental chaos, and
the obligatory Feist cameo But instead
of sticking to the recipe and cranking
out repeats of previous albums, the
group refuses to stick to any formu
las and continues to find new sonic
wrinkles to explore.
On Forgiveness Rock Record, the
band furthers its sprawling and epic
sound by turning clown the guitars and
paying attention to the rumbling below.
The production of indie-rock superstar
John McEntire (who also moonlights
as the drummer for Tortoise) is cohe
sive. but e3ch song seems to have its
own rhythmic identity, whether it be
the manic multiple drumming during
the chorus of Texico Bitches* or the
bubbling, near Dossa nova undercur
rent ol “Romance to the Grave* or the
seemingly chaotic electronic blips
and bloops ttiat permeate the entire
disc. These songs force you not only
to listen intently, but to move with the
music.
But Forgiveness Rock Record
isn't just break beats and keyboard
squawks—the album still incorporates
the band's flair for the boozy 3am
booty-call theme song with Ihe closing
track "Me and My Hand* (go ahead
with the obvious joke, we ll wail)
This album is ugly, funny, pretty and
challenging, which would be more
impressive from any other group bul
somehow feels par lor the course for a
Broken Social Scene album
Jason Bugg
TORCHE
Songs tor Singles
Hydra Head
While the loss of second guitar
ist Juan Montoya has lessened their
monstrous roar, this eight-song EP
shows that it's also allowed the Florida
breakouts to go mote arabesque and
airborne with their sound Torches kick
is still mighty, but they re honing their
uniquely melodic edge to stake new
ground
Though they're clearly much more
it's highly debatable whether they're
even a card-carrying metal band any
more With clarion songwr.tmg and
shades of indie rock, their sound is
becoming more like epic jet-propelled
pop
Breaking more rules, they've
imposed almost unheard of brevity tor
an ostensibly stoner band, with all but
the last two songs clocking in around
or under, two minutes Picks include
the urgent, diving rocker ’Hideaway*
and. particularly, the sky-gazing
triumph of ’UFO' But the longer,
more atmospheric closing songs are
the more distinctive ones here "Face
the Wall' is a tower cf mood and ’Out
Again’ is a monolithic take on loud,
'90s indie rock.
All told, it's a high-impact, hit-and-
run record that furthers Torches mis
sion ot turning their doom-and-stoner
roots on their head. And any band
that can consistently drop the metal
hammer this forcefully without being
a slave to the genre's institutions is a
band to get behind
Bao Le-Huu
TKE GROWLERS
Hot Tropics EP
Evertoving
Picture yourself at a macabre car
nival by the sea. Now try and imagine
what that would sound like. If you're
hearing spooky mandolin, mysterious
crooning and murky conga drums, then
you've entered the aura* vaudeville that
Is The Growlers
This sextet is anchored by lead
singer Brooks Nielson and more
specifically by his drowned-out Jim
Morrison pipes ’Graveyards Full*
sounds like a nursery rhyme from
the underworld that slowly fades into
Nosebleed Sun.’ which diametrically
marries upbeat beach-pop standards
with phased-out melancholic noodlmg
The infinitely more polished "What II
Is’ significantly picks up the tempo
and overall weirdness *Sea Lion Goth
Blues' exemplifies what this band is all
about, whittling its ’beach goth* souno
to its bare essentials The bluesy theme
drags on through 'Badlands’ and 'Let
It Be Known* until you hit 'Cammo
Muerto.* which i$ a breath of fresh if
still morbid, air as the band displays
serious synergy and a willingness to
switch melodies on a dime
This 24-mmute elegy to the bygone
days of beach pop is much more play
ful than it is plaintive There's nothing
remotely deep here, but if there ever
was a concept album for skeletons
frolicking through the surf, this would
be the one
Patrick McGinn
BRAD HELLHt AND
THE FUSTICS
Beyond This Life
Independent Release
The third LP Irom Americana
rockers The Fustics is the soundtrack
lor the average man's life Fronted
by acclaimed singer-songwriter Brad
Heller, Beyond This Life is a realistic
and relatable work—a cross-ccunty
journey in album form Sincere, honest
and often hard-hitting, the five-piece
from Wilmington. NC highlights the
simple joys and laments ot modern life.
The combination of social criticism
paired with the simple lyrics and folksy
progressions is a throwback tc late-
*70s, working-class, Heartland rock,
but each song is slightly incongruous
The dark lyrics and poppy, upbeat
qualities of 'Bloodstained Streets* and
"Captured My Fa*e,’ tongue-in-cheek
rhyme scheme of Til Walk with You*
and country-radio-esque "Desert Sky*
hardly fit on the same album
While each song weaves an inti
mate and sometimes heart-wrenching
story, the lyrics fit oddly with the
melodies, making the album play like
a glorified jam session. Though the
sound is ultimately polished, there is
a slight, and possibly intentional, dis
connect between the tone and delivery
The Fustics' combination ol electric
guitar, sparse usage ot organ and har
monica. taint and ghostly violin, and
commanding vocals create a unique
and satisfying sound.
, This Life rests comfortably between
progressive and predictable—a varia
tion of a theme that has been reshaped
tor generations.
Carrie Dagenhard
Brad Heller and the Fustics are
playing at Little Kings Shuffle Club on
Friday. Nov. 19.
16 FLAGPOLE.COM • NOVEMBER 17.2010