skip to main |
skip to sidebar
Alan Palomo never fucking stops.
Going from GhostHustler to VEGA and now Neon Indian; Palomo's more than content to have multiple identities functioning at once (in the case of VEGA and Neon Indian), and thankfully, his work never suffers as a result.
While VEGA is very much focused on the 80's Electro-Pop, Neon Indian's Psychic Chasms serves to vent Palomo's desires for more left-of-field experimentations. That said, this album will feel both similar and alien to you depending on what you listen to. Psychic Chasms is a thirty minute amalgamation of Daft Punk, Chromeo, Cut Copy, Thieves Like Us and any 80's Dream-Pop channeling band you care to name. Of course I could run off a list of at least a dozen other acts Neon Indian sounds similar to, but such comparisons are a tad lazy.
The album is simultaneously abstract yet accessible, and it's this quality that I believe is Psychic Chasms' greatest strength. Whenever the instrumental sample-ridden and warped synth-laden sound of the tracks are in danger of losing the interest of those with more conservative tastes, Palomo's silky smooth vocals draw you right back in. Every track is dripping in nostalgia and memory, they all seem like a return to the events of a distant past joined by both prangs of regret and joyful resurgence. No track fits the bill more than Should Have Taken Acid With You, a sleepy dreamscape of love lost and drug fueled euphoria, it's definitely Neon Indian's manifesto functioning at its highest level.
I can't help but draw comparisons to Memory Tapes' Seek Magic; it shares with Psychic Chasms a similar sound and similar influences but, for me, Seek Magic errs too far into the realm of aloofness, gaining attention for its unique compositions, then losing it for not ending the songs in half the time they take to get where they are going.
The quality of Psychic Chasms is deftly maintained throughout the LP, arguably because of Palomo's use of segue songs between the strongest tracks on the album. A similar format was seen in Cut Copy's In Ghost Colours, but I think Neon Indian pulls it off more successfully in this release. While it's a shame the album is done before you are; the less compelling tracks are made that much more successful in their shorter length, they begin to feel like intros and outros to the focus pieces of the album. When viewed in this way, it's hard to pick out any songs that really let down the album at all.
When all is said and done, Psychic Chasms is definitely not for everyone. Those looking for soaring, chorus-focused dancefloor tracks, they may be better served to seek out Palomo's more pop-oriented project; VEGA; because you won't find them here. That's not to say there aren't catchy tracks on the album, because there definitely are, and songs like Deadbeat Summer and Terminally Chill are great examples of this, but the album is definitely meant to be taken in as a whole package rather having its importance placed on singular songs.
As far as first albums go, Neon Indian hit the ground running. Although Alan Palomo has had time to refine his approach through his other works, and you can't help but be thankful he didn't attempt an album like this before he was truly ready. Psychic Chasms may take a few listens to take hold of you, but once it does, you'll find a multifaceted soundscape of nostalgia-soaked Chill-Wave that's very appealing.
8/10
--
Should Have Taken Acid With You - Neon Indian
Myspace
The 2000's are really one of the best eras to be in musically. Of course both the very wise and the very ignorant will argue against this statement, but no other point in time before this has it been both so easy to create music and share it with the world, and so possible to have it sound like whatever the hell takes your fancy.I've always described the 2000's as an amalgamation of all of the best parts that have come before it. Whether it's fashion, design or music, all of it cuts and pastes from trends of the 60's, 70's, 80's and (thankfully least of all) the 90's. However due to the wonderful power of hindsight, we can trim off all those ugly fads that took the world by storm when we knew no better, and what we're left with is the best of the best.And what better way to celebrate the versatility of this great time we live in (creatively at least), than to count down the top 100 songs of the 2000's.JUMP TO:100 - 9089 - 8079 - 7069 - 6059 - 5049 - 4039 - 3029 - 20
--
NUMBER 19
The Bucket - Kings Of Leon
The Bucket was one of the first songs I had heard from Kings Of Leon, and to be honest I thought it was really rubbish the first time round. Admittedly my tastes then weren't really aligned to appreciate anything that sounded different from what I was used to, and I really had a hang up with vocals that weren't perfect. I'm glad I gave the song, and the band, another chance, because it really is a great track. The guitar work is especially catchy, and now, the vocals, which I hated before, are one of my favourite aspects of the song. Kings always have this great quality to their songs that makes them the perfect soundtrack to the experiences of youth. For me especially, I'll always remember seeing them live on a summer's night to wrap up a festival that I go to see every year down south. It really is my favourite time of the year, and it's always something I look forward to for months. This song feels like a connection to those events.
NUMBER 18
This Boy's In Love - The Presets
While Apocalypso took a more accessible, less outwardly stylish route than the debut album from The Presets, Beams; it also featured much more complex and well written songs. The songs felt more like expansive Industial Electro anthems rather than edgy club tracks, the sense of grandeur was especially clear in This Boy's In Love. The vocals always evoked amazing imagery in my mind, of futuristic skylines and star-filled skies. The repeating layered synth work felt like it was really taking you somewhere special, and Julian Hamilton hammered the feeling home with impassioned vocals. The closing lines really give the impression you're about to embark on an amazing journey to unknown places, with most of the album left to go, you'll soon find out that's entirely the case.
Goodbye,
This town,
These streets,Your friends,
We'll never,See,
This place,Again.
NUMBER 17
Time To Pretend - MGMTTime To Pretend is one of those tracks that I believe will help define the 2000's as a music era. Yes it was almost completely ruined by hype, ignorant thirteen year olds and record companies, but no other song has conveyed the ideology of living fast and dying young so perfectly. Filled with youthful optimism, the cliche things that everyone promises to each other in the throes of teenage existence, and a movie soundtrack sonic aesthetic, everything about this track brings forth strong feelings and memories. Time To Pretend deals with the realisation that life isn't exactly how you wanted it, and that you've lost sight of what you dreamed of when you were young. This epiphany invariably results in overcompensation, you want to feel alive to prove you're not wasting life. MGMT captured the fear of mortality in such an appealing package it's not wonder why they were everyone's favourite band for fifteen minutes.
NUMBER 16
Sunshine - Atmosphere
Atmosphere is one of those Hip-Hop acts that really stand out against the rest of what's out there. Sunshine is a perfect example of why. The simple piano/drums approach gives this really peaceful summertime feel to the track that you can't ignore. Musically it's simple, lyrically it's uncomplicated and succinct, and the end result is a really appealing and accessible song for anyone, even if you don't like Hip-Hop. The lyrics themselves deal with recovering from a hangover after a big night out, and seeing the beauty in every day life; the simple things, weekends spent with families, times spent with friends and not having a care in the world. It's one of those tracks that would likely get hidden within the rest of Atmosphere's body of work, but it really is so well crafted that it deserves to be heard by all.
NUMBER 15
Naïve - The Kooks
The Kooks first album was one of my favourites of 2006, and i attached lots of great memories to every track. Naïve was always my favourite, the almost reggae quality to both the vocals, and the instrumental work, combined with a strong Indie focus created a really unique song. Naïve is about a cheating partner, and the heartache associated with infidelity. I'll always love The Kooks at this stage, knowing they had to prove themselves, they really released one hell of an album, the poppy melodies and sing-along lyrics were so simple and effective, and there's just this earnest quality to every song. I really felt for the second album, Konk, the benefits of fame really went to their heads and that cocky demeanour really shone through in each track, the songs felt like they were completely in love with themselves. But at least we have Inside In / Inside Out to give us straight up love songs and Indie-Pop for simpler times.
NUMBER 14
Banquet - Bloc Party
Ok I have to say this now, I decided to limit myself to only three Bloc Party songs in this countdown, If I had my way at least half the list would have been by the four-piece from London, but I showed restraint for the purposes of feigned objectivity. Furthermore, of all the songs on Silent Alarm, Banquet is not my favourite, but it earned this position for being the most iconic, the most reflective of Bloc Party's manifesto as a band. Banquet combined the best parts of Indie Rock with Electronic Dance, while only using traditional instruments (guitars, bass, drums). With Banquet, it was Kele Okereke's objective to create a rock song with the danceability of an electro track. And it's plain to see the band really did achieve this, there's something so catchy and enthralling to every aspect of the song. The alternating guitar work between Russel Lissack and Okereke, the always impressive drumming of Matt Tong, and the distinctly noticeable basswork of Gordon Moakes, just makes the whole thing sound like a band working together flawlessly. Banquet is the figurehead of an amazing debut album, the song that ties all of it's tracks together, regardless of tempo or experimentation, it's the perfect mid-point to sum up the band. If someone asked you what Bloc Party sound like, you'd play them Banquet and know you've explained them perfectly.
NUMBER 13
Hearts On Fire - Cut Copy
Hearts On Fire is Cut Copy nearing the zenith of their potential. With a perfect combination of emotion and danceability not seen since New Order, Hearts On Fire feels like a track straight out of the 80's. The smooth vocals and New-Wave guitar work, the rising synth and saxophone make everything sound so retro and iconic. Cut Copy make electronic music for people who appreciate thoughtful songwriting as well; more intelligent than Trance, Techno and House, more catchy than IDM, Hearts On Fire fits into a niche that was sorely absent before the 2000's and the Indie-Electro revolution came to pass. Hearts On Fire glides above the stratosphere, filling you with this elated feeling of nostalgia and longing.
NUMBER 12
When The Sun Goes Down - Arctic Monkeys
This was Arctic Monkeys utilising their strengths perfectly. When The Sun Goes Down features witty, punchy lyrics with raw indie rock, this was Arctic Monkeys when they were young, brash, rough around the edges and altogether amazing. The song starts slow, then immediately shatters the peace with heavy and loud guitar riffs, Alex Turner's voice picks up and the excitement builds, spinning the tale of the red light district after dark with complete abandon. At its loudest When The Sun Goes down feels like it's about to burst forth from your speakers and strangle the apathy out of you. I really wish Arctic Monkeys would venture back into the raw unrestrained realm that When The Sun Goes Down so perfectly conveyed.
NUMBER 11
Someday - The Strokes
The most catchy and breezy track from The Strokes. Someday has this careless relaxing feel to it that makes it one of the most popular songs by the New York band to date. The iconic catchy guitar and bass aspects of The Strokes are here as always, and the vocals sound both rough and distorted while being accessible and friendly at the same time. Someday really is a feel-good song at heart and it really comes across in overall sound very well.
Here's a few tracks, new and not so new, to check out.
Gloves, the electronic solo project from (the now defunct) Damn Arms' Yama Indra, is finally delivering some original material for us all. Gloves has been very busy touring and remixing for a whole bunch of artists, including huge names such as Van She. Seems like Modular's recent acquisition of Bang Gang 12 Inches has really got the ball rolling for the artists involved, with both Ted & Francis and now Gloves releasing singles within a month of each other. Either way I'd be lying if i said I haven't been watching everything Indra has been doing since i first heard the Damn Arms' epic swan song, Destination, last year.
This track, Too Much To Dream, is the b-side from his new single PYX. If you liked Destination this song is very much in a similar vein, chill electronic with catchy vocals.
Too Much To Dream - Gloves
Here's a track from Lupe Fiasco's upcoming album, said to be due December this year. The album, titled Lasers, is reportedly part one of a 3 album project, and by the sounds of it, is going to carry on exactly where The Cool left off, lyricism focused Hip-Hop with a strong focus on great collaborations. As such, this song, Shining Down, features Matthew Santos, who is best known for his guest vocals in Fiasco's hit single from The Cool; Superstar. Fiasco seems to have gone the auto-tune route here, with parts of the song sounding uncannily like Kanye West's latest LP, 808s & Heartbreak.
Shining Down - Lupe Fiasco
Discovery is a collaboration between Ra Ra Riot's Wes Miles and Rostam Batmanglij from Vampire Weekend. Unlike both of their regular stuff, Discovery takes a very electronic, vocoded approach. I must admit I picked this album up without actually knowing any of this, having only heard their cover of the Jackson 5's I Want You Back. It was one of those times when the album cover and artwork really sold it to me, with the inside booklet featuring a really cool graphic direction, colourful pixel art and interesting typographic work.
This track is called Osaka Loop Line, from their debut album, LP, juxtaposes distorted beats with very delicate vocals. It's definitely an interesting sound.
Osaka Loop Line - Discovery
And finally, a song from Cut Copy's first EP, which, if memory serves, was back when it was just Dan Whitford. The EP, titled I Thought Of Numbers, is a pretty interesting indication of how far Cut Copy have come from those early days. The song is Rendezvous, definitely a stand out on the release.
Rendezvous - Cut Copy
More to come.
