Apati - Morgondagen inställd i brist på intresse (2010)

Several of my acquaintances are quite enamored of the recent swing in depressive black metal towards the borders of the shoegaze or indie rock scenes, some artists putting both feet firmly across such distinctions. So, as you can guess, my failure to crease at the knees to the sounds of Agalloch (they're okay), Wolves in the Throne Room (meh) and Alcest (har har) do not make me particularly popular at parties. You might call some of these people hipsters. You might call me one. I might say the same of you. They might just say I was old. At the end of the evening, we're all deep in our cups and thoughts, the dust clears, and 80s Iron Maiden marathons still rule, and that's really all that is important to this old boy...

That said, Lifelover is a band we usually do come to agreeable terms on, and this other Swedish band, Apati, had a debut that was a fairly close approximation to that steady, melodic driving, sound that reeks more of a new spin on mid period Katatonia than anything else. That album, Eufori, was rather divisive, as some seemed only to happy to have another band in that vein, while others were offended at its closeness (and to be fair, it was pretty fucking close, almost like a tribute). Personally, I have taken to that album, because despite the obvious level of derivation, it's actually very catchy, and I still spin such lush tracks as "Höst", "Livet Ur en Dåres Synvinkel" and "Sömnlösa Nätter" in a normal rotation. When it comes down to the line, the music is all that matters to me, and Apati are clearly quite good at writing songs of this nature, falling behind only Coldword, Lifelover and the more turbulent Shining.

So I was a little surprised that the band's sophomore outing, Morgondagen inställd i brist på intresse, is such a different beast than its predecessor. The doomed, glinting overtones persist within their sound, but there is a far more stringent focus on cleaner guitars and spoken word tones that drift across the fresh drum sounds (Patient C is the brainchild of another Swedish band you might know, Svart). In fact, though I hate to admit it, this album is clearly migrating away from the Lifelover influence towards something more along the lines of that French artist that I strive to hard to ignore: Alcest. Or more accurately, they've implemented those same college rock, indie rock and shoegaze influences that are so ardently forgotten as the trendily attuned line up to give Neige a smooth kiss on his fey-blessed buttocks. Call the chief of police, alert the fire department, cancel your vacation, and run for cover...a Swedish Alcest? I am so doomed, aren't I?

Surprise number two: Apati are pretty good at this, pretty good indeed. I like their take on this style quite a lot more, and it's not always so similar. A little less saccharine, a little more stoked up on drugs and the bitter taste of irony. Morgondagen inställd i brist på intresse is packaged like a dark trip, with random suburban imagery cast in grays and blacks and whites and pixelated mystery, lyrics provided (in Swedish) like cut out clippings of newsprint, and right smack dab in the middle of the digipak's booklet, a collection of drugs, both prescription and otherwise, headlined by the newsprint clip of 'Ctrl+Z', which also happens to be track #6 here, a dreamy, pop-inflected ambient piece with spoken word that helps channel the dark, urban absurdism that populates the disc. The band does occasionally engage in the tortured vocal stylings of their debut, as in "I Förträngda Minnens Sällskap" and the excellent, acoustic thundering of "Total Avsaknad Utav Glädje" that undoubtedly draws the mind back to their Lifelover comparisons. To balance these, you've got the calm unease of "Kemisk Kärlek", "Lämna Mig Ifred", and The Cure-like dopiness of "Allt är Aig Likt" to comfort you.

Morgondagen inställd i brist på intresse is an unusual album, to be sure, but it's also intriguing. Bright enough not to be a letdown, but not good enough to have a greater impact on me than Eufori, as I preferred that heavier approach to such surrealistic folly (though I cross my fingers that the follow-up to Konkurs will sate me). If you're not put off by the fact that Apati will undoubtedly bear a similarity to your other favorite bands, you might indeed contract some enjoyment from this. It's well written, engaging and somewhat diverse. This is perfect, and it is NOT a metal album, unless you count the faint few bars of distorted guitar rilling off into the bridge or climax of particular tracks, and it should not be judged as such, but perhaps there is something to it that will sate both the hipster and bitter pill in all of us.

Verdict: Win [7.25/10]

http://www.apatisk.se/

The Rural Alberta Advantage - Hometowns (2008)

First, I need to emphasize that the The Rural Alberta Advantage hold a strong place in my heart for being a band that has a sound that personifies everything that I remember, and simply know, about growing up in a certain place. Named after the colloquial saying that describes the benefit of coming from a region with both great economic promise coupled with rustic, conservative sensibilities, this band has strived to create a sound that tries to convey that idyllic sense of time and place.

Released by Saddle Creek Records, the debut album from the three-piece, Hometowns, contains thirteen tracks of folk/indie pop that comes across with a stripped-down presence that captures that innocence and confusion of coming from a place that is constantly trying to balance the big-city influences with the bucolic history that defines Alberta. The songs themselves can be applied to places outside of this province and this review should by no means give you the idea that this band creates songs aimed at a certain, specific audience. Lyrical topics range from discussing the tragic landslide that destroyed the mining town of Frank, Alberta to the simple ideas of the break-up of the lake ice after a long, cold winter in Northern Alberta. The description the band applies to their music might convey the concepts behind their craft better than my own personal descriptions:

The Rural Alberta Advantage play indie-rock songs about hometowns and heartbreak, born out of images from growing up in Central and Northern Alberta. They sing about summers in the Rockies and winters on the farm, ice breakups in the spring time and the oil boom’s charm, the mine workers on compressed, the equally depressed, the city’s slow growth and the country’s wild rose, but mostly the songs just try to embrace the advantage of growing up in Alberta.

The songs are blended with acoustic guitars, trumpets and stripped-down drums with a production that reminds me of bands such as The Decemberists, or even their label-mates Bright Eyes. This is not the Canadian indie –pop in the style of their fellow compatriots The Arcade Fire or Of Montreal, so be forewarned if you are expecting music in that vein. This comes highly recommended for someone looking for some music to truly enjoy the changing colors of the forest during the autumn while reflecting on the changing times around us, how much things change but always stay the same after all.

Verdict: Win [8/10]

http://www.theraa.com/

Patrick Wolf - The Bachelor (2009)

Patrick's path has been a novel one. Rising as a garaged-out violinist, he grew brilliantly in his youthful style of folktronica, embellishing a strikingly personal approach with ukulele, piano, and whatever else he could wrestle up to create a sound that stood out brilliantly from his indie contemporaries. His most recent album, The Magic Position, was a stark contrast from previous efforts, a bright about-face into cheerier realms that left the question of his style on further efforts very much up in the air.

The Bachelor starts off catchily enough. "Hard Times" immediately sinks its relentless violin hook into your brain where it will remain like an embedded earworm for days. This is a much more aggressive side of Patrick: sharply controlled, rocking, and wholly results-oriented. An easy single for the album, "Hard Times" shows a new Patrick - not the molested orphan of Lycanthropy, not the morose beauty of Wind in the Wires, not even the light-hearted dancehall haunt of Magic Position. No, The Bachelor sees Patrick assume the rockstar mantle, full of confidence and straight-forward strength. Guitars and choral backing feature a much more prominent role, engulfing Patrick's presence in an overwhelming sense of concerted effort. "Oblivion" follows up with another take-no-prisoners charge, beat-driven and ominous through the pressing violin strains that tie it all together. The album continues much so, songs vying between grandiose arrangements and electronic pounces.

And therein lies my issue with The Bachelor. While I prefer my wolf sentimental and brooding, I'm quite willing to embrace this stronger side of him. Yet, while it is enjoyable, the music no longer feels about him; it is no longer personally compelling. The urgent, choppy violins, the numerous guests, the choral arrangements, the awkward instruments strewn willy-nilly - they all say "don't look at me, this isn't about me, I gave up myself before, now I am here only to entertain you." The beats are euqally infectuous and disingenuous - the return to his dubstep roots that Patrick touted beforehand is particularly underwhelming in its reality. The instrumentation is too disparate and lost in a sense of novelty and production to stick to my bones. It's all so busy, so radio-friendly, almost frantic. It's too polished. The appeal of Patrick's music has always been the intimacy, the passion that he evokes as just a boy and his ukulele, the boy who plays all his instruments and does everything for himself. The easiest way I can show this to those who are unfamiliar with his work is to point out two videos, one from Wind in the Wires, and one from The Bachelor. Notice the difference, eh? The natural mixture of folk instruments and electronic pulses has lost its complementing feel as more and more was crammed in between it, and Patrick's hand in it all is withdrawn and blurred.

This impersonal nature, combined with strange New Age/World-esque choices (the Native American flute on "Damaris", anyone?) and generally formulaic song structures mean that much of the album goes by without leaving much of a mark. It's a fun time for sure, and there are even some thoughtful songs near the end that recall a bit of old Patrick, but that's it; I'm entertained, not impressed. Ah well. Here's to next time?

Verdict: Win [7/10] (love the cover art, though)

http://patrickwolf.com/

Mercy Arms - Mercy Arms (2008)

It is very, very likely that this will be my non-metal album of the year. Unless something comes out of the blue, or I reach the 300th spin and I realize I've been wrong the whole time, or Patrick Wolf manages to get his new album out this year, there's nothing I could see dislodging this.

With only one (excellent) ep release before this, Mercy Arms are starting off to a fucking good start. Their sound takes a little bit of everything: alt rock, noise, shoegaze, post-rock...it's a menagerie of techniques mixed together that swathes the music in a whirring cuddle of catchy indie rock. On top of being a textural delight, Mercy Arms is goddamn catchy and a constantly energizing performance. Singer/composer Moore provides evocative, unique vocals that, while not evoking a particularly Australian style, still capture some of the beauty of British accents.

This may not impress everyone, but every time I hear it I like it even more. My first Epic Win.

Verdict: Epic Win [5/5]

http://www.myspace.com/mercyarms

Warship - Supply and Depend (2008)

My first exposure to this New York band. The first thing you'll notice about Warship is their similarity to the current stoner metal scene erupting here in the US, headed by acts like High on Fire and The Sword. Like these bands, Warship perform a hybrid of punk, sludge, rock, hardcore and faster paced, more exciting metal, all dowsed in what some would dub 'emo' or indie rock.

This isn't to say they sound much like, Supply and Depend has its share of thrash and burn, akin to modern Slayer i.e. "Where's Your Leash", as well as a thorough punk/indie side to it, evident on tunes like "Empty Vessel" and "Fetus Fly Trap". It's on Vagrant Records, after all. There are also more moody, bluesy tunes like "Lousy Horoscope". Sufficed to say, it all works well together. The clean and harsh vocals both form an overarching bond between the many influences and the material is well produced. Guitars are just grimy enough, the bass distorted perfectly to appeal to the entire sludge sect, and the band is far more focused on rock sensibilities than simple brutality.

The album was interesting for a single listen straight through, but I found no desire to return to it. A lot occurs within the framework, but little of it is quite catchy enough. Still, if you're a diehard fan of your energetic youth sludge and wouldn't mind the seasoning of punk and indie, Warship succeeds in the mesh. "Wounded Paw" was my favorite song here.

Verdict: Indifference [6/10]

http://www.myspace.com/mywarship