Tapes on the Floor's Favorite Tracks of 2013 (Pt. I)

In 2013, I found myself getting attached to individual songs more so than the albums from which they originated. It's strange, because I've always thought of myself as the type of person who appreciates records as a sum of all their parts, rather than being defined by a handful of tracks. Have I finally succumbed to the piecemeal, playlist culture that surrounds services like Soundcloud, Spotfy and Rdio? Or am I just becoming increasingly sentimental about three-five minute moments in time? Who knows.

This is all a lengthy way of saying that when I sat down to list my favorite tracks this year, it was a longer list than usual. As such, I've increased the scope so that it encompasses my 50 favorite tracks from the past year. It's a longer read, but I think it provides a more accurate encapsulation of my listening habits over the past 12 months. You'll be forgiven if you doze off while you peruse it.

Album Review: Dosh - Milk Money

It seems like ages have passed since the release of Martin Dosh’s last solo record, 2010’s Tommy, but that’s only because the successive years have been a productive time for the Minneapolis multi-instrumentalist. In 2011 he released a tour-exclusive record called Silver Face (now available online) that illuminated his creative process, collecting a variety of discarded beats and musical sketches in various states of completion. In 2012, Dosh returned to the studio with longtime collaborator Andrew Bird, providing drums on Break it Yourself as well as the companion record Hands of Glory. He also demonstrated his straight-ahead rock chops, jumping behind the kit with the Minneapolis band the Cloak Ox for a pair of records. Dosh’s Facebook page was periodically updated with videos of improvised tracks he performed in his basement. Last February, he collaborated with Wilco percussionist Glenn Kotche, composing a 25-minute piece for a performance at the Walker Arts Center. In short, he’s kept busy.

Amid all of his other projects, Dosh found the time to record his new album, Milk Money. According to the liner notes, he’s been working on it in fits and starts since January of 2011. It’s his first release for Graveface Records, marking Dosh’s departure from LA label Anticon, which has issued all of his previous solo releases. The album is also devoid of instrumental contributions from the likes of Mike Lewis and Jeremy Ylvisaker, who have fleshed out Dosh’s past three records both in the studio and on the road.

Dirt Cheap Guide to SXSW 2013

Yes, it's THAT time of year again. RSVP links are hitting Twitter, inboxes are filling up with releases from PR companies you've never heard of and wistful think pieces are beginning to crop up all over the web. It's the week before SXSW and if you're a fan of music (or popular culture in general), you've been hearing about the year's biggest music orgy with increasing regularity for the past two months. Hopefully you've made up your mind about whether or not you'll be heading down to Austin, TX next week (if not, you better hurry up and request a few days off from work, and a few more to recover from the resulting hangover).

This year marks my third trip down south and, as usual, I'm heading into the city-spanning festival without an official badge or wristband. Unless you're an industry type who needs access to every single showcase or want to see Justin Timberlake perform an intimate show in an abandoned tortilla factory, you simply don't need those exorbitantly priced credentials. And get this: even if you do pony up for one, you'll probably still have to wait in some lines (which will transform you into one of the grumpiest assholes in all of Austin).

Watch Me Jumpstart

Fear not gentle readers. If you've paid any attention to my Twitter feed or scanned the bylines on Time Out Chicago, you'll know that I am alive and well. Tapes on the Floor isn't dead, it just went on an extended (and, perhaps, well deserved?) hiatus. If the classic lineup of Guided By Voices can get back together and make a new record, you can watch me jumpstart this dusty corner of the internet.

Tapes on the Floor's Favorite Albums of 2010

After taking almost the entire year to carefully consider the music that would appear on this list, I'm now ready to reveal my favorite records of the year—and not a day too soon. 2010 was another corker as far as music goes, but I feel as if I've been saying that every year for a while now. The truth is, I listened to more things this year than ever before, and while I loved quite a bit of it, the records on this list are the standouts that truly stuck with me. So here they are, my favorite albums of 2010 listed alphabetically by artist.
















Write About Love - Belle and Sebastian
It's probably bad form to call Write About Love Belle and Sebastian's comeback record—they never really left or went on hiatus, it just took four years between releases. However, even for a group who practically wrote the book on twee indie-pop, the musical landscape of 2010 is a far cry from that of 2006. This makes the fact that Belle and Sebastian haven't really changed one bit all the more delightful. They're still complaining about their day-jobs ("Write About Love") and making grandiose demands ("I Want the World to Stop") atop the bouncing strains of catchy, upbeat arrangements. "Make me dance/I want to surrender," croons Stuart Murdoch on the record's opening track—it's hard to come up with a better summation than that.
















Brothers - The Black Keys
I've always been a strong proponent of the Black Keys—much like myself, they're Ohio boys with a penchant for the blues. With this in mind, it should come as no surprise that I think that Brothers is their strongest effort since Rubber Factory. This record finds the duo melding the raw sound of their earlier recordings with the production values of their latter-day output—a near-perfect balance of old and new with a cohesive direction. Whether it's the swirling organ and earnest falsetto present on "The Only One" or the bellowing low-end of "Howlin' For You," Brothers proves that the Akron twosome still have a few tricks up their collective sleeve.
















Black Sands - Bonobo
There's at least one album I put on my list each year that I feel I really have no right talking about. I'd never heard of Bonobo (British producer Simon Green) until this record fell into my lap earlier this year, but his orchestral trip-hop arrangements instantly made me a fan. Black Sands is an electronic album planted firmly in the analog world, buoyed by a seemingly classically trained ear for melody that transcends the hook-obsessed state of modern electronic music. The danceable beats of "Kiara" and "1009" stand shoulder to shoulder with the meticulously composed instrumentals of "El Toro" and the record's title track. It's a juxtaposition that requires delicate control, but one that Green pulls off successfully and to great effect.
















Forgiveness Rock Record - Broken Social Scene
For the sprawling Canadian collective's fourth act, the group traveled to Chicago to record with John McEntire at Soma studios. The result is another art-rock opus featuring an ample cast of players and guests. For a band that has split off in so many different directions in the years since their last record-proper, it's refreshing to hear all these people bringing their influences into the fold and playing off each other in the same place. The variety is key, bouncing from anthemic Kevin Drew-fronted numbers like "World Sick" and "Forced to Love" to the soft trills of Lisa Lobsinger on "All to All" to Emily Haines' decidedly subdued "Sentimental X's." McEntire's production work negates any sonic disparity, making for an album bound together by an intense love of music in all its permutations.
















Halcyon Digest - Deerhunter
For a person such as myself who has always been intrigued with bits and pieces of each subsequent Deerhunter and Atlas Sound release, Halcyon Digest is the perfect blend of both projects' at-times disparate sensibilities. Under the direction of maestro Bradford Cox, the group takes their usual shoegaze-y sound and injects it with a bit more of the pop spirit of Cox's solo work. The result is a record that doesn't sound drastically different from the band's previous efforts, but one with many more memorable moments—be it the sax solo on "Coronado" or the synth-heavy repose of "Helicopter". Under the watchful eye of producer Ben Allen, it all comes together in a way that injects new life into the weird and wonderful melodies this group is capable of.
















Tommy - Dosh
What is there left to say about an album and artist that I've gushed about for the better part of this past year? Dosh's latest loop-filled release keeps the creative wheels turning, resulting in a record that holds new surprises at every turn. There's the fast-paced collage of an opener "Subtractions," which seems to throw in just about every trick in the book. Just down the line is the atmospheric "Airlift," which I suppose you could peg as Dosh's contribution to the 'chillwave' fad. Closing out the record is "Gare de Lyon," an expansive and fitting tribute to the album's namesake—the late soundman Tom Cesario. Tommy is a portrait of an artist putting familiar tools to new tasks, all the while finding new ways to excite and amaze.
















Skit I Allt - Dungen
I like to think that Dungen's latest record was conceived in a haze of pot smoke, amid stacks of Camel and King Crimson records. From the sound of it, my assessment can't be far from the truth, as the Sweden-based outfit's record is another slightly stoned take on the '70s prog-rock sound. Ringleader Gustav Ejstes populates each track with a sense of nostalgic wonder, drawing from a palette of fuzzed-out guitars, percussive organs and trilling flute. As should be the case, there is no lack of distinct and memorable melodies, evident on tracks like "Skit I Allt" and "Marken Lag Stilla". As indebted to their forbearers as this collection of songs may be, on this record Dungen lovingly crafts the sound into something that nearly transcends that association.
















Cosmogramma - Flying Lotus
On his sprawling sci-fi, jazz-tinged, hip-hop exploration, LA best scene producer and musician Steven Ellison creates one of the most alluring pieces of art to come out this generation's liberal cut-and-paste mentality. Flirting with everything from oriental melodies to sweeping orchestral overtures, FlyLo layers entirely disparate sounds between ample helpings of glitchy synths and sporadic beats resulting in a unique blend of classical and modern sensibilities. It's an interstellar voyage from start to finish, never dwelling on one musical thought for too long and packing in appearances from folks like Thom Yorke and Ravi Coltrane. That it succeeds is a credit to Ellison's off-beat musical mind, but its unlikely cohesion is something akin to magic.
















What We Lose in the Fire We Gain in the Flood - The Mynabirds
Laura Burhenn set out to make a modern Motown masterpiece, and with the help of producer Richard Swift, she succeeded. What We Lose in the Fire is the kind of record that oozes with soul, bouyed forward by Burhenn's awe-inspiring voice and pitch-perfect instrumentation. The slow-burning opening track sets the mood, augmenting a fairly simple arrangement with accents like a swirling organ and glistening horn section. "Numbers Don't Lie" sounds like some long lost Motown 45, preserved in all its dusty, jangly glory. It's a hodge-podge of influences and call-backs but a record that manages to pay its dues while still offering something all its own.
















High Violet - The National
Maturation is a natural part of life—even bands do it, and on the Nationals latest release you can hear them doing just that. High Violet is a record bereft of the sonic energy found on Alligator and portions of Boxer, replaced instead with an earnest serenity befitting of Matt Berninger's calm baritone delivery. That's not to say that the group's penchant for big musical moments has dissipated entirely, as tracks like "Terrible Love" and "Afraid of Everyone" deliver those in spades. However, more subdued cuts such as "Bloodbuzz Ohio" and "Runaway" come away as being the most memorable—perfect showcases for the kind of refined instrumentation the band has become known for. Growing up—hard as it may be—has never sounded this good.
















One Of Us - Pomegranates
A couple of minutes into the opening title-track of this record, it becomes abundantly clear that Pomegranates have struck upon a sound that is uniquely their own. It's a moment they've been building towards ever since the reverb-drenched strains of their 2008 debut, but on One of Us, it all solidifies into something undeniably magnificent. Shifting from the psychedelic stomp of songs like "50's" and "Prouncer" to the subdued ambiance of "White Fawn" and "Venus," the group strikes a balance between energetic release and calculated poise. In between the space-y atmospherics are songs that transcend their trappings and a band reveling in a strain of pop-rock that sounds like no one else.
















White Noise Bed - Santah
I forget exactly how I felt when I discovered the awful truth about Santa, but I'll never forget how I felt upon first hearing the excellent debut release from a band called Santah. The young group of players turn in a record that sounds wise beyond their years—a brilliantly cohesive folk-rock statement rife with moments of sheer musical bliss. It would be tempting to say that it's all the brainchild of frontman Stanton McConnell, but the growling organ care of Tommy Trafton and firmly anchored bass lines of Otto Giovanni betray this as an intensely collaborative undertaking. It's a record that ebbs and flows but never dips in quality, making for some of the year's most enthralling listening.

Happy New Year!

Tapes on the Floor's Favorite Tracks of 2010 (Part I)

Yet again, we find ourselves at the year's end and as I did last year, I find myself blessed with far too much music to fit into a simple 'Favorite Records' list. To remedy this dilemma, and heap some recognition on records that didn't quite make the cut, I'll once again be running through my favorite tracks of the year. This one's going to be a two-parter, so bear with me as we dive into the first half of the year's best tunes, arranged (as usual) alphabetically by artist.

Arcade Fire - "The Suburbs"
The Canadian indie-superstars' latest record still hasn't entirely grown on me, but there's no denying the strength of its title track. Pairing a bouncing piano line with group's requisite string arrangements, Win Butler and company stretch a fairly simple arrangement to its most epic conclusion. Amidst an album chock full of shmaltz, this one hits home the most—and with a beautiful melody to boot.
Buy: The Suburbs

Baths - "Lovely Blood Flow"
Chopping beats is all well and good, but finding a way to layer some vocals on top always manages to impress me. Such is the case with this track from Baths, the latest artist to come from LA's beat scene. Amid the stuttering drum hits and atmospheric static, Will Wiesenfeld's admittedly odd voice joins the fray, bringing a strange sense of union to this offbeat gem.
Buy: Cerulean

Belle and Sebastian - "I Didn't See it Coming"
The first time I listened to this song—the opening track on Belle and Sebastian's latest album—it was like reconnecting with an old friend. Sarah Martin greets you gently, breathily intoning over gently swelling piano chords. By the time Stuart Murdoch joins in, it's as if these Scottish twee-pop giants never left our sides. "Money makes the wheels of the world go round" sings the pair—a fitting chorus for a priceless song.
Buy: Write About Love

The Besnard Lakes - "Albatross"
Shoegaze has been slipping in and out of vogue for years since its heyday in the late '80s and early '90s. Today, few do it better than Canadian post-rockers The Besnard Lakes—a fact which this track exemplifies. All the tropes are there, from the wailing, pitch-bending guitars to the ethereal vocals provided by Olga Goreas. "Things got weird for a bit" she croons, just before a surge of distortion takes hold—a sonic demonstration of the powerful feelings this group expertly harness.
Buy: The Besnard Lakes Are The Roaring Night

The Black Keys - "Ohio"
Why this track wasn't included on the group's latest record is beyond me, but releasing it online, free-of-charge certainly doesn't elicit any complaints. The duo's ode to our shared home state is a straightforward, heartfelt song about coming back to the place you love, wherever that may be. Personally, it's my front-runner for replacing the woefully outdated "Hang on Sloopy" as our state rock song.
Buy: Brothers
Download: "Ohio"

Born Ruffians - "What To Say"
For a song about being unsure what to say, Luke LaLonde spouts off a fairly verbose set of lyrics that cleverly tackle the subject at hand. Backed by a stuttering beat and some minimalistic guitar and synth work, the trio effortlessly turn in what is easily one the year's catchiest tracks. I know it's one I found stuck in my head—oftentimes when I should have been planning my next sentence a bit more carefully.
Buy: Say It

Broken Bells - "October"
Every year I find a reason to sing my praises of Danger Mouse, and this year that reason was super-duo Broken Bells. Joined by James Mercer of the Shins, this track finds the pair drowning in a sea of string pads, Rhodes piano and flanged guitars. It's yet another demonstration of Brian Burton's immaculate pop-sensibilities, further heightened by Mercer's seasoned vocal work. Songs like this leave me hoping this will be more than a one-off.
Buy: Broken Bells

Broken Social Scene - "Forced to Love"
I think my favorite thing about this track is how clearly you can hear producer John McEntire's auditory fingerprints. Whether it's subtle synth drones or the relentless, prominent percussion—it's all the sound of one of America's foremost musical minds meeting with the art rock tendencies of this Canadian collective. Even for a song premised upon forced emotions, it's hard to come away from this one feeling anything but unbridled love.
Buy: Forgiveness Rock Record

The Clientele - "Jerry"
It seems as if Alasdair MacLean has been threatening to disband the Clientele for several years now, but it's songs like this one that make me glad he hasn't made good on that threat just yet. "Jerry" finds the group engaging in their usual water-tight arrangements, presided over by Alasdair's reverb-drenched voice. It's when the distortion pedal gets hit and the song's decidedly uncharacteristic bridge starts that things get really interesting. Never a dull moment with these blokes—here's hoping for more.
Buy: Minotaur

Deerhunter - "Revival"
For as long as I've been following his work, Bradford Cox has been a reliable source of dreamy, well-constructed nuggets of pop-rock. "Revival" continues the trend—a short, percussion-heavy number with dollops of fuzzed out bass guitar. It's over before you know it and if you're anything like me, you'll quickly find yourself skipping right back to the beginning (again).
Buy: Halcyon Digest

Dosh - "Call the Kettle"
For his latest record, Martin Dosh dug into his back catalog to refashion a three minute track from his Powder Horn EP into the dazzling five-and-a-half minute showpiece present on Tommy. Dosh lays his usual drums and Rhodes groundwork as saxophonist Mike Lewis twists his accompaniment around the underlying melody in strange and beautiful ways, adding facet upon facet to this instrumental wonder. Chalk this one up as another densely layered success for the Minneapolis loop wizard.
Buy: Tommy

Dr. Dog - "Where Did All the Time Go?"
It's a tall order to write a song that will undoubtedly be used as the soundtrack to a flashback montage in some sort of biopic in a couple of years. Luckily, psychadelic pop-rockers Dr. Dog are more than up to the task, delivering a track that revels in the group's timeless sound while being careful to not overindulge in nostalgia. Bolstered by production that accentuates the group's vocal harmonies and instrumentation, the Philly quintet make this little song sound appropriately gigantic.
Buy: Shame, Shame

Dreamend - "Magnesium Light"
The twangy weirdo-folk of Graveface Records owner and Black Moth Super Rainbow guitarist Ryan Graveface can admittedly be a tough pill to swallow. However on this dreamy, banjo-driven track, you can almost hear some of that initially off-putting strangeness melting away. Even as the noisier elements kick in part way through, there's an earnestness that makes this song (and the album its culled from) extremely listenable.
Buy: So I Ate Myself, Bite By Bite

Dungen - "Skit I Allt"
It's nice to know that somewhere in the cold expanses of Sweden, there's a group of guys celebrating the seemingly under-represented sound of '70s British prog. Many of the genre's usual devices are present on this track—from the wafting flute-line reminiscent of Ian Anderson's to guitar riffs that echo the likes of Andrew Latimer and Robert Fripp. Indebted as they may be, Dungen's modern sensibilities mesh with their influences to create a sound you won't hear elsewhere.
Buy: Skit I Allt

Elf Power - "Goldmine in the Sun"
The Elephant Six Collective mainstays' latest self-titled release came with no shortage of succinct indie pop statements—none better than this particular cut. "Goldmine in the Sun" finds the group laying down a wall of chords as Andrew Reiger spins one of his apocalyptic tales over top. The wonderfully simple guitar-work on the ending breakdown caps off a track that isn't so much a return to form as it is a reminder of this band's continuing prowess.
Buy: Elf Power

Girls - "Heartbreaker"
From time to time the buzz surrounding a group is well-deserved—such is the case with Girls, whose delicate, brilliantly-produced pop songs found their way to my ears despite the overwhelming wave of hype heaped upon them. Christopher Owens lyrics on this track get straight to the point, but the refined instrumentation surrounding them bring an authenticity to his bluntness. On an EP resplendent with heartbreak, this one lives up to its name.
Buy: Broken Dreams Club

Jaga Jazzist - "One-Armed Bandit"
Norway's premiere (and only?) nine-piece progressive jazz combo flex their musical muscle on this track, the best of the bunch from their LP of the same name. A constantly-shifting beast of a song, the group establishes a unifying theme and then take every opportunity to move away from it. The icing on the cake is the John McEntire superb mix which distills what could easily have been a mess of notes into a unified instrumental masterpiece.
Buy: One-Armed Bandit

Jonsi - "Tornado"
There were plenty of moments on Jonsi's inaugural solo release that were far removed from his work with Sigur Ros, but I think it's telling that the record's best song doesn't stray far from that group's sound. The simple piano melody, accompanied by a grandiose string arrangement and the otherworldly tones of Jonsi's unmistakable voice make for track with all the power of its titular whirlwind.
Buy: Go

Part II can be viewed here—Favorite Albums of 2010 coming soon!

Behold The Man

This past week started out with a BANG at the Scott Pilgrim's Finest Hour release party at Challengers Comics in Bucktown. I mingled with the costumed attendees (I like to think my plaid attire and scruffy facial hair was a respectable attempt at a Stephen Stills get-up) and sipped on a soda that gave +1 to Will. At midnight, the books went on sale and I nabbed a copy and headed home to read. I have to say, O'Malley really outdid himself with this one. The ending was pretty perfect; so much so that I hear Edgar Wright re-shot the ending of the upcoming movie to match it. It's sad that it's over, but it's nice that it went out on such a high note. The launch at Challengers got covered by Bleeding Cool (check out my shoulder in the fourth pic down!) and the TOC blog (and I didn't even have to write it!)

Over the weekend I braved the flood waters (we got something like 7 inches of rain here in Chicago) and ventured out to Pullman to check out the Backyard Film and Music Festival. I think the weather scared quite a few people off, as the whole event wasn't nearly as well attended as it should have been. Dosh was the reason I showed up, and he did not disappoint. This was actually the first time I've seen him perform completely solo, and the experience was quite different. He strayed away from much of his newer material (most of which relies heavily on the talented Mike Lewis) in favor of older tracks such as "Steve the Cat" and "The Lost Take." Much of the set was made up of tracks that I didn't entirely recognize, including one really interesting song that featured a very cool choral loop. It seemed off the cuff, although I suppose these might be new tracks that Dosh is still fiddling with, seeing as this appearance was a one-off gig. Regardless, it was a real treat to see him for my third time this year (with a fourth on the way... he's touring with Baths this fall and they're hitting Cleveland and Cinci). Oh, you can check out more pictures and thoughts in my TOC blog post.

The following day I made my way down the road I live on for the aptly named Milwaukee Avenue Arts Festival. I checked out some galleries, but the real allure of the event was an appearance by Detholz! in Logan Square. I haven't seen these guys since they opened at the first Wilco show I ever attended, but I've kept tabs on them over the years, and their Who Are The Detholz!? LP is still a favorite of mine. Unfortunately, they didn't play any songs I knew ("Sunburned in the Sun" would have been so appropriate!), but the tracks they did play were pretty great. Once highlight of the set was a tune called "Catherine Zeta Jones" which was an ode to T-Mobile. I was surprised to hear that the band actually started out and is still based in the Logan Square area (I knew I moved here for a reason). It was a nostalgic trip down memory lane, and I only hope that I'll cross paths with a Dethole again sometime soon.

But that's not where the reminders of good-times past ended! Alex White, formerly of Miss Alex White and Her Red Orchestra (a Detroit-based group that opened many a Columbus show in the days of my youth), was also playing the fest as part of a brother-sister duo called White Mystery. They're alot like the White Stripes, except they're actually brother and sister, and the gender-to-instrument roles are reversed. It's the same kind of hard-hitting garage-soul-rock that Miss White has always delivered, and it definitely took me back. They're out on tour right now, so catch them if you can before they come back to Chicago at the end of August to ease the suffering that the prospect of leaving this town is going to inflict upon me.

Well, I've said entirely too much. In just a few hours, my good friend Danny Clay is coming to visit my humble abode for a few days. We're going to be seeing Tortoise at Millennium Park on Thursday and checking out the madness of Wicker Park fest this weekend. Oh, and I'm going to use his visit as an excuse to visit Hot Doug's one more time before Doug goes on vacation for the majority of August. Until next time...

Do the Whirlwind

This past week started off with a one-two punch of musical goodness. First up: my second favorite artist/band Dosh played a lightly-attended free show at Pritzker Pavilion in Millennium Park. Joining Martin Dosh on this particular occasion was his regular touring partner, Mike Lewis of Happy Apple, as well as frequent collaborators Jeremy Ylvisaker and JT Bates. The quartet turned in some beautiful renditions of tracks like "Airlift" and "Call the Kettle", all of which sounded pretty great reverberating in the pavilion's cavernous stage. I can't say it was as great of an experience as seeing him for my first time in Cleveland earlier this year, but it was certainly a treat to see him again so soon with a larger group of performers.

Later that day, it was back to Millennium for a performance by collage-rock duo The Books. It was very interesting to hear how some of the newer tracks had evolved since my last time seeing the group early last year. Judging by their sizable draw and the crowd's reaction, I really think their next record is going to find its way into the hands of a lot more people. You can read my review of the show and see a few more of my photos over on the TOC blog.

Wednesday night was almost a wash-out, with some pretty huge storms hitting the city. Luckily, things died down enough for me to make my first journey to the Hideout, one of the venues I've been itching to visit since arriving in town. While there, I took in an evening of bass duo, trio, and quartet performances featuring Devin Hoff of the Nels Cline Singers. I enjoyed it so much that I plan on coming back next Wednesday for a show featuring, among others, the illustrious Fred Lomberg-Holm. For a few more shots and details on the evening, click over here.

On Thursday I headed back to the Double Door to see Sleepy Sun and Mondo Drag. I was pleasantly surprised by the latter; I'd never heard of the group before, but their performance was the night's best. As usual, you can find more photos and thoughts right over here.

Friday found me attending the giant smorgasbord known as Taste of Chicago, where I got try my hand at both food photography and criticism (I like food too much to speak badly of it). Later that evening I took a short walk down the street to the Whistler to catch former Wilco-member Leroy Bach on solo acoustic guitar. These days he's doing finger-picked material very remincent of John Fahey and Jim O'Rourke circa Bad Timing. I got a chance to chat with him after the show, and he suggested an upcoming Cairo Gang concert that I hadn't even heard of; what a nice guy!

Last night I got the full 'press-experience' as myself and another intern were let loose on an event presented by Heineken that featured performances from Matt & Kim and Cold War Kids. It was interesting to say the least; we had to be accompanied by a Heineken rep whenever we were shooting photos and we were given time restrictions when photographing the bands. The event itself was in a refurbished warehouse, decked out with all manner of lights, screens, and projectors. I certainly felt like a real reporter (blogger?) being shuttled around from spot to spot, conducting interviews, and taking tons of pictures. It also didn't hurt that the event included free Chicago-themed food and all the Heineken you could drink. You can take a look at our coverage over here.

Right now I'm eagerly anticipating the On Fillmore's appearance with Nels Cline tomorrow at Millennium Park. Should be a great show; I'm interested to see how they incorporate Cline into the group. More dispatches from Chicagoland as time allows, thanks for reading!

Album Review: Dosh "Tommy"

Tommy is Dosh's fifth studio album, a tribute to Martin Dosh's former soundman, the late Tom Cesario. As such, one might expect the record to be a rather somber affair, rife with the kind of melancholy that so often accompanies the passing of a loved one. Instead, Dosh chooses to celebrate Cesario's life with his usual arsenal of upbeat, loop-driven arrangements. The result is an album that combines the many disparate elements of Dosh's more recent work into a fitting tribute for a fallen friend.

Opening track "Subtractions" sounds like it could have come straight off of 2006's The Lost Take, characterized by its bouncing synth and saxophone embellishments care of Happy Apple's Mike Lewis. It's a highly enjoyable showpiece of a song, taking just about every trick up Dosh's sleeve and combining them into a track that sounds both familiar and fresh. "Number 41" marks the first appearance of Andrew Bird on the record, providing his usual brand of carefully measured vocals over Dosh's dense instrumentation. Bird's last record was missing the sort of full-on collaboration with Dosh that Armchair Apocrypha's "Simple X" hinted at, so his appearance on this record is definitely a welcome occurrence. Rounding out the A-side of the record is a track called "Airlift"; one of the more grandiose and cinematic compositions ever to grace a Dosh album. With its swelling strings and organs, it's a sound we haven't heard from Dosh in the past, but one that provides another of Tommy's many highlights.

Tommy's 'Be-side' commences with a retread of sorts, finding Dosh reworking "Call The Kettle" which previously appeared on the Powder Horn EP. Here the track is expanded upon, building slowly until climaxing in the familiar riff that has made this particular song a staple of Dosh's live performances. Andrew Bird make another appearance on "Nevermet", a dusty acoustic ballad that provides the perfect backdrop for Bird's nuanced vocals. Closing track "Gare de Lyon" starts out innocently enough, with a snippet of dialogue setting off a simple drum beat which slowly builds into a laid-back groove. As the song progresses, it begins to sound more frantic before dissolving into a wave of feedback that is joined by another vocal recording. The final two minutes are best described as raw sonic emotion; an outpouring of the kind of joy and sorrow best communicated through music. It's a fitting finale to an album that takes so much pleasure in the subtleties of sound.

On Tommy, Dosh continues to solidify himself as one of the most unique forces in modern music. While his songs have always been deeply personal, this record manages to plunge into even greater emotional depths. Dosh found his voice through his music long ago; with Tommy he's shown that he has something to say.

Tapes on the Floor's Favorite Albums of 2008

Every visit to just about every music related blog or website over the past week has reminded me that I need to cash in on the end of the year list craze once again. Most of the lists I've seen thus far are pretty samey; lots of buzz bands and albums, the safe picks, and not much in the way of anything else. So, if you're looking for a list with Bon Iver, Fleet Foxes or Vampire Weekend on it try one of these. If I've still got your attention, here's my take (in no specific order) on what's worth your time and money from the past year in music:

Wolves & Wishes - Dosh
I had to double check and make sure this record actually came out this year because I haven't seen it on a single 'Best of' list I've read thus far. That would make this album my number one most criminally under-appreciated record of the year. With Wolves & Wishes, Dosh expands his musical palette beyond that of his previous record The Lost Take. The same basic ingredients are still present; namely the Rhodes keyboard, a drum set and a looping pedal. But just as The Lost Take took Dosh into the realm of rock, Wolves & Wishes finds Dosh exploring more experimental territory. The song "First Impossible" is essentially nine minutes of droning guitar, made interesting by the way Dosh takes this sound and manipulates it, segueing into various different beats. "Bury the Ghost" features a vocal appearance from Bonnie Prince Billy, backed by a tribal drum beat and solo clarinet. However, the real meat of the record are songs like "If You Want To, You Have To", "Wolves" and "Capture the Flag" which show just how versatile of an instrument a looping pedal can become, creating catchy, unique songs that showcase all of Dosh's musical talents. If you're a fan of The Lost Take, or of the keyboard arrangements on Andrew Bird's last record (which were provided by Dosh) you owe it to yourself to check out one of this year's best albums.

Real Emotional Trash - Stephen Malkmus & The Jicks
None of Malkmus' post-Pavement output has ever really interested me much; I'd come to the conclusion that the guy reached his musical peak with the group and was now content to fade into obscurity with sub-par solo albums. However, something really clicked for me after listening through Real Emotional Trash in its entirety. This is an album that Malkmus never could have made with Pavement. It's full of drawn out, jam-heavy rock songs that were never Pavement's strong suit. But with the Jicks as is backing band. Malkmus makes this seem like what he was born to do. One of the greatest things about this record is that it sounds like a band just playing through its songs; there aren't a bunch of overdubs or overly complex arrangements. Nowhere is this more apparent than on the albums title track which is ten minutes of uninterrupted jamming backed by an extremely competent rhythm section. Malkmus' vocals and unique intonation take center stage on tracks like "Cold Sun" and "Out of Reaches", reminding you that this guy can still write and sing. Real Emotional Trash is a group at its best, and the perfect antidote to the glut of over-produced rock albums on the market today.

Dreaming of Revenge - Kaki King
Kaki King is way better at playing the guitar than you will ever be. She excels at a hybrid picking/finger-tapping technique that makes her sounds like she's playing multiple guitars at once. Dreaming of Revenge fleshes out this sound even further by backing her with drums and bass as well as overdubbing some immaculate solo work. The record is divided into instrumental and vocal-infused tracks, with the instrumental work solidly outnumbering the vocal efforts. At times, she's a pensive singer-song writer, as evidenced in songs like "Life Being What It Is" and "2 O'Clock". At other times, Kaki King is the unabashed rocker, providing both the vocal and guitar prowess that pushes a track such as "Pull Me Out Alive" to the next level. However, my favorite aspect of Kaki King's work are her post-rock tendencies which are brilliantly displayed in "Montreal" and "Air and Kilometers". This is a musician who's last record was produced by post-rock legend John McEntire, so she obviously knows what she's doing. Dreaming of Revenge was a great find for me in 2008, and I certainly look forward to hearing more from Kaki King in the future.

Dear Science - TV on the Radio
TV on the Radio have outdone themselves on their latest release, crafting a record that is every bit as fresh and different as 2006's acclaimed Return to Cookie Mountain. Dear Science is an unabashed pop record; it's got dance beats and catchy hooks. But what really makes it so exciting to listen to is that it takes the pop formula and turns it on its head. There is no other band out there that sounds anything like TV on the Radio, and this album seems like the realization of that fact. "Golden Age" takes a stilted rhythm, layers on some falsetto, Casio-handclaps and a horn section, and somehow manages to sound incredibly natural. All of this is underlined by smart lyrics that decry war, embrace love and suggest music as the solution to the world's problems. Just as Return to Cookie Mountain was an ode to a nation in ruins, Dear Science is a tribute to hope and reconciliation. Dear Science cements TV on the Radio as the Talking Heads of our generation; a group that is totally unafraid to make unconventional pop music with a strong message.

The Odd Couple - Gnarles Barkley
Gnarles Barkley's St. Elsewhere always struck me as the perfect one-off for both Danger Mouse and Cee-Lo. Then "Crazy" happened and everyone took notice. Expectations for their sophomore release The Odd Couple were understandably high and, while it didn't have a hit on the magnitude of "Crazy", it's a much better album than its predecessor. Danger Mouse's production is on the mark, capturing exactly the mood that each song requires. He casts Cee-Lo as the tortured soul man in "Who's Gonna Save My Soul" and "A Little Better" just as easily as he takes him into the realm of gospel in "Going On" and "Suprise". It's an album that deserves to be listened through in its entirety, if only to fully appriciate the bountiful and abrupt changes in scenery. Danger Mouse treats each Gnarles Barkley record like a movie, as evidenced by the film projector heard at the beginning and end of each album. He has a story to tell, and Cee-Lo is always the versatile leading man. This effort may not have been a blockbuster success, but it's sure to find its place as a cult classic for years to come.

Chemical Chords - Stereolab
Most people's main complaint with Stereolab is that everything they do sounds pretty much the same. Chemical Chords probably won't convert anyone with this opinion, but it does manage to stand shoulder to shoulder with some of my favorite Stereolab albums of the past. This one compares nicely to Dots and Loops, sharing its emphasis on electronic backing and processed drum beats. Chemical Chords finds Stereolab sounding just as aimless as ever, but in that great kind of way that makes it the perfect background music. High points of the record include the brass infused "Three Women" and "Self Portrait with 'Electric Brain'" as well as the xylophone driven melody of "Silver Sands". My only regret is that this record finds Tim Gane and company playing things fairly safe. In my mind, the Stereolab classics are from the Jim O'Rourke/John McEntire produced era where the band was trying new things to mixed, but often enjoyable results. We may never hear that side of the group again, but Chemical Chords is a reminder that Stereolab is still great at what they do best.

Attack & Release - The Black Keys
The Black Keys have gotten a bad wrap as of late. I found Magic Potion just as boring and predictable as everyone else, but their newest effort didn't deserve some of the harsher criticism it received. Attack & Release breathes new life into the Black Keys formula, thanks to the production work and guidance of Danger Mouse. Really, the only logical next step for the Black Keys was to expand their palette beyond the staid drum and guitar combo. Danger Mouse was able to do this in a tasteful manner that I doubt any other producer could have accomplished. The record still sounds distinctly like the Black Keys, but hearing the organ kick in throughout the last few second of opening track "All You Ever Wanted", it's clear that this is the band at a new level. My favorite moment on the record is the song "So He Won't Break" which finds the band channeling a sort of neo-soul groove, backed by a steady pounding beat and intricate, layered guitar work. In essence, Danger Mouse takes what the Black Keys are good at and casts it in new lights, resulting in their freshest record since Rubber Factory.

Með suð í eyrum við spilum endalaust - Sigur Rós
Listening through this one for the first time, I was found myself feeling unimpressed. This was far from the ingenious, lush, interlocking arrangements that had populated Takk. However this one grew on me fairly quickly. It's Sigur Rós doing something they haven't done very often as of late; trying something different. From the opening strains of "Gobbledigook" it's clear that this record is an entirely different animal. Most of the songs on this record are just the core members of the band playing songs, without much accompaniment. Another big difference is the abundant use of a brass section; a departure for the band, whom have relied on a string section for their past two albums. It results in a more regal and bold sound for the group, and is a stark contrast to their previously orchestral tendencies. Perhaps the weakest points on this album are when Sigur Rós attempts to go back to the well with the songs "Festival" and "Ára bátur". Both tracks push the nine minute mark, and are plodding affairs that build up to a grand climax within the last few minutes. In "Ára bátur" that climax includes a full orchestra and a choir backing the band which, even for Sigur Rós, seems like overkill. Perhaps inspired by the acoustic sessions they recorded for last year's double EP Heim/Hvarf, Sigur Rós has gone, for the most part, back to the basics on this record, and the results speak for themselves.

Building a Strange Album

After an amazing record like 2006's The Lost Take, I had pretty lofty expectations for Dosh's newest release. Now, having listened though Wolves and Wishes several times, I can safely say that this is a very different album than I expected. In retrospect, The Lost Take is practically pop in comparison to most of his earlier work and some of the material off the latest record. Wolves and Wishes brings back some of the noise and more experimental arrangements found on earlier albums such as Pure Trash, however the implementation is much more mature and calculated. The almost 9 minute long track "First Impossible" is the best example of this, building textures and rhythms around a steady drone. It's a bold statement from an artist who rarely breaks the 4 minute mark in the studio. Later on the album "Food Cycles" exhibits a similar, albeit more succinct, sentiment, building a diverse rhythmic palette before destroying it in long-winded bout of wailing guitar feedback. This is not to say that Dosh shies away from the more accessible numbers that make him such an exciting talent. The album's centerpiece is a piece entitled "Wolves" which plays like a distillation of the musical vocabulary Dosh has built for himself, showcasing some great saxophone work care of collaborator Mike Lewis. It should be noted that Lewis is now a permanent part of the Dosh lineup, contributing to every song on the album. Lewis even co-wrote a few songs with Dosh, the aforementioned "Food Cycles" and one of the record's most interesting tracks; "Bury the Ghost". Bonnie 'Prince' Billy provides vocals of sorts for this track, which also showcases some great clarinet work from Lewis; not your typical Dosh piece. All in all, this record is markedly different experience from Dosh's previous release. It's certainly not as upbeat, and exudes quite a bit more atmosphere. I couldn't be happier with it though, it's a great listen, and the differences are what make it all the more enjoyable. I'm very excited to start hearing some live renditions of these pieces because, as Dosh fans will attest, this is where he truly shines. His recent appearance with Mike Lewis on Minnesota Public Radio bodes very well, especially the awesome rendition of "Wolves". Wolves and Wishes was released last Tuesday on Anticon Records and should be available in the Rock section of your local record store.

"Wolves" - Dosh (from the Wolves and Wishes LP)

Early Evaluations

I know this news is a few weeks old, but is anyone else still a little surprised that My Morning Jacket will be playing on Saturday Night Live next week? I've been pretty pleased with their musical offerings this season; gone are the pop-stars of the week that pretty much dominated the show throughout the 90s. While we're on the subject of MMJ, I guess it's pretty common knowledge by now that their forthcoming June 10 release, Evil Urges, has been leaked onto the web for a few weeks now. An unfortunate situation, considering the band sent an e-mail to fans just a few days before the leak touting patience and good old-fashioned record releases where everyone hears the album the day it comes out. They even offered up an MP3 of the album's title track in attempt to appease bloggers and the like. But alas, someone with a promo copy evidently didn't feel the same way. So far, my impressions of this new record are pretty mixed. None of the tracks have really jumped out at me the way songs from the previous two albums did. I hate to say it, but at times it almost seems like the band was playing it safe with with one. My favorite of the bunch so far is "Remnants" which sounds like a natural evolution of the sound demonstrated on It Still Moves, still my favorite MMJ record to date. I'll reserve final judgment until the physical release hits store, but my initial impression is that this album is not quite what I was expecting from the group after a career defining effort like Z.

While we're on the topic of upcoming releases, I can't help but bringing your attention to Martin Dosh's newest full-length on Anticon, Wolves and Wishes. So far, only one track has made its way onto the web, but it's a great taste of what's to come. Those familiar with Dosh's last release, 2006's The Lost Take, will feel right at home with the new track entitled "If You Want To, You Have To". It's one of the coolest songs I've heard this year, and definitely leaves me wanting some more. Fortunately we won't have to wait long as this record will be released May 13, with extensive touring to follow.

"Remnants" - My Morning Jacket (from the upcoming Evil Urges LP)
"If You Want To, You Have To" - Dosh (from the upcoming Wolves and Wishes LP)

Live Review: Andrew Bird

I've seen quite a few very talented musicians live, but I don't think any of them exude with said talent as much as the amiable Mr. Bird. Joined on-stage by drummer/keyboardist Martin Dosh and bassist Jeremy Ylvisake, this small group of performers created music with a lushness that defied their numbers. Assisted by a sampling pedal and an array of effects, including a rotating horn speaker, Bird paced the stage like a mad conductor, fiercely urging his orchestra on to sweeping crescendos. The set was mainly a showcase of his newest release Armchair Apocrypha, but Bird has a reputation for live interpretations that significantly deviate from their studio counterparts. Perhaps the most striking example of this was "Heretics", a song in which the string arrangements present on the record were conspicuously absent in the live setting, turning the tune into what could almost be described as the 'rocker' of Bird's set. The unique looping and rhodes skills of Dosh (I've been listening to his album Lost Take all week, amazing stuff) were showcased on "Simple X", the intro of which was an exercise in sampling, in order to provide the backing tracks for the rest of the song. The night was not was not strictly a one-album affair however, seeing Bird reach into his recent back catalog with live renditions of The Mysterious Production of Eggs' "The Naming of Things" and "Tables and Chairs". The main set ended with "Scythian Empires", just one of the more 'dreamy' songs played that Bird said he felt were appropriate for a venue as beautiful as the Southern Theater. A one song encore of "Weather Systems", played solo, capped off the evening with a veritable showcase of violin mastery (or something close to it). It's hard to pin Andrew Bird within a genre, he's almost in a class by himself, with a similarly undefinable live show that's a spectacle worth witnessing.