[photography credit: ion magazine]

All hail the mighty power of PP!

Michael Angelakos of Passion Pit recently sat down with NME backstage at V Festival 2010. The frontman opens up in the interview, discussing Passion Pit’s live shows, as well as briefly talking about the process behind the recording of their new album. Angelakos mentions that the boys are taking their time while recording and hopes to align the album release with the Farmer’s Almanac, when life’s in bloom. Besides this deeper stuff, he also dishes on remixes, and personally liking songs just the way they are (sounds like he’s taken a cue from Bruno Mars).

Watch the interview below.

[Related Post: Passion Pit Drops 'Little Secrets']

I was having a hard time finding out if I thoroughly enjoyed their jams, or if they were an act playing at SXSW that I would never show curiosity in again. Although almost convinced by reading that they were going to become the next overnight sensation, it hasn’t happened quite so swiftly. Despite all of the buzz they received within that short time, they managed to stay clear of the publicity and focus on touring, and rightfully so as the band were on their way to dropping an insanely good quality record. A staple in the indie rock scene that you definitely wanna vibe too, with a sparkly psych-folk sound.

Local Natives contain musical astuteness beyond their years. Let’s face it; without imaginative musical thoughts, you’re simply a poet with a musical device; without superior lyrics, you’re simply a person standing with a microphone. Local Natives still have room for lyrical growth, like most up & coming indie acts. That being said, let me enthusiastically praise their musical happenings in Gorilla Manor. The drive, the solidity of harmonies, and the instrumentation, the distinct quality of sound: all commendable.

One of the chief attractions of this album is the tribal-like drums roaring into orchestras that swell in the background. The music helps paint an intricately layered soundscape that begs to be listened to again and again. I vastly advise downloading Wide Eyes, Airplanes, and World News. Each track is insanely different, yet the continuity of the album lies within.

Locals belong to a particular locality or neighborhood, and let’s just say, they’re the cool kids on the block. Wanted: a music buff wanting to take a shot in the dark and purchase the disc of a relatively unknown band. I guarantee you will find something you love.

They saw an opportunity on this release to repeat their success with their ever-growing popularity, and I am happy to say they have done just that. Yes, they might have a speck in the silt of Lollapalooza this year, but I’m prepared to wage that they’ll be headlining Radio City sooner than later.

If this article is the object introducing you to these guys, then let me say there is not a more suitable band name. The band is made up of front manguitarist Charlie Brand, Rick Schaier on drums and vocals, Algernon Quashie on guitar, keyboard and vocals, and Alex Gerber on bass and vocals. Their songs are small-scale epics; tiny but powerful, delicate but vicious. They are indeed miniature tigers. It’s tough to explain Miniature Tigers without using words like “attractive” and “melodious”. Their sound may not be multifaceted or ground breaking, but the sheer force of the jams themselves make all that irrelevant. Not since Weezer or They Might Be Giants have I heard tracks so enticing. Layers of pianos, creamy choral backings and speedy falsetto singing warm the spaces in each track.

These guys just seem to be on the edge of something big, but they aren’t stopping, with 200 shows under their belt last year alone. Check out Fortress, and embrace the tigers function in a cohesive unit.

Passion Pit frontman, Michael Angelakos, has a thing for unexpected covers, and we’re glad he stumbled upon this one. I think his high voice gets the message of the beautiful song across. It’s completely reconstructed from top to bottom, so be prepared if you’re not into change.

This may make some die-hard Smashing Pumpkin fans sick, but we’re always willing to take a chance. Not here to observe or critique it, just to enjoy it. What do ya’ll think of Passion Pit’s cover?

I would love if any of the BTB readers were fans of the group, to please leave this album up for discussion, for maybe I am missing something here. I love all of their work so something just doesn’t seem right. This hurts; I am not your usual “pop is shit” shouter, because I respect musicians in different ways, and what they do. But Omni just feels so insincere, leaving out gritty drama, almost seeming as if they have lost something. The music is less stimulating than normal and generally boring (maybe that’s because I mastered the air drum to their prior release, Acoustics). I’m not saying we should be provided with a carbon copy for all of their work, and I’m sure plenty of forgettable indie bands are going to continue churning out the same music year after year, it’s just sometimes hard for fans who are well established into a group to jump on board so quickly. On the other hand, the band clearly put a lot of thought into the album trying to make something fresh and new for their fans, so I can’t hate on that. I suppose it’s bitter sweet; maybe losing some loyals to gain some newbies.

What do you think? Is my only disappointment coming from my gut knowing how much better the band can be? Not as much guitar, but more electronic and poppy? I feel like I am being introduced to a new group; taking out the musicianship and adding a bunch of mainstream twang.

For the record, I’m still a huge fan. Maybe some of you don’t even know who Minus The Bear is, but I strongly suggest checking out their musical library, and express your opinion. Let’s have a discussion, minus the claws.

It’s been awhile since the boys have released some jams, but the wait was well worth it. This record has strayed form conventional pop, and made a trip back to the roots of what made the group great; volatile music. One of Canada’s leading alternative rock bands have yet to achieve much in the way of chart success, but most good music does not. They make wild sounds, labeling their songs with extreme names, and their music is new wave dance-punk indie rock post-punk revival.

Future Breeds is the sound of a band that is completely free of restraint, as Hot Hot Heat offers fresh track after fresh track and never lets a square song structure get in their way. Each song is so damn catchy, especially Implosionatic and Times A Thousand. The record offers an audacious and refreshing collection of tracks that spotlight the band’s unique sound and particular talent of creating radiantly blemished music.

If you’re in a blah mood, their music will change all that. If you’re standing still, this will force you to move. If you’re not used to stepping out of the box on your playlist, this will certainly mix that up. Opt for a change! After all, it’s summertime and we all are bound to get burned from the Hot Hot Heat.

I’ve said it before and I’ll say it again: I would not want to piss off Sting’s daughter. Girl’s got some serious steam in those eyes! I Blame Coco (AKA Sting’s amazingly talented offspring) is out with her new single Self Machine (available July 12th via Island Records). The single showcases a bit of the taste of her forthcoming debut album, The Constant.

Self Machine is dingy electro pop at its finest, backed with an incredible music video. The video is shot in a vacant swimming pool with a creepy chic vibe that’s all its own. The video was directed by Alex Smith via Warp Films, the man behind Coldplay’s Yellow and Manic Street Preacher’s Empty Souls. Although the aesthetic of the video is subdued, the song itself definitely has summertime color.

Says Coco: “This is our new video for Self Machine. We shot it in an abandoned college in Oxfordshire. It was a great day of filming. Enjoy.”

Check it out!

Back in Black; The Black Keys new album Brothers has surpassed any other album I have bought this year. Yes I have praised many magic music makers here on BTB, and thus far, this takes the gold. Don’t get me wrong, there is no scarcity of bluesy rock records out these days, and I didn’t think I needed to dart out to seize another one, until now. With two other classic albums over the last decade, the Black Keys have inaudibly exposed themselves to be an exceedingly consistent band, and the maturation of the Black Keys as record makers and performers has been both delicate and staggering. Dan Auerbach and Patrick Carney, you’ve done it again.

The dirty beat and rickety falsetto of icebreaker Everlasting Light is so opposed to the typical that it almost seems intended to scare fans away. Bad news that Brothers is poles apart from the rest of The Black Keys library? No, no sir. Musicians must evolve, and this is an evolution. After all, when a key is inserted into the appropriate lock, the lock can be rotated. A disc packed with stripped down, raw, heavy riffs. Haven’t heard of these guys? Don’t fret, you can catch up now.

The entire album was produced by the duo, except one stand out track by Danger Mouse (who co-produced the boys album Attack and Release) titled Tighten Up; arguably the strongest track on the album, for Mouse is a musical whiz kid. The hip organ-sprinkled tempo-shifting beat will have you hooked (“Someone said true love was dead, but I’m bound to fall for you,”). Someone else also said true music was dead, but you’re bound to fall for The Black Keys.

Brothers is outstanding, consistently strong stuff, though this one feels a bit tamer, with more of an R&B influence, which could pull in fans from all directions. Upon listening to The Black Keys, it may be rough to grasp that they are purely a duo. Their character and musicianship yields a sound larger than some mega bands. Boys devoted to their sound, yet still carry on redefining themselves, exploring many shades of blues.

Unlock your normal mainstream taste, and grab a key.

Ready for some good music? Good. Let’s begin.

When I read the release date, the only rational response was to become ecstatic over the next album from one of the best bands of the decade, The National. The Brookyln based indie-rock outfit are back with a new smash album, High Violet. It’s a demoralized, harmonious, volatile and beautiful set of songs that find the band at the peak of their collaborative powers. The music is widespread in its moods, full of drab angles and impression.

Opening is the furry folk of Terrible Love. This song hits me, the way a good song should (”It’s a terrible love and I’m walking with spiders. I was carried to Ohio in a swarm of bees,”). Life situations become the basis of lyrics, as here, where it seems personal demons have taken on literal forms. Like most of the songs on this album, the title illustrates this idea perfectly. One of the most influential parts of the band is Matt Beringer. In my opinion, he holds one of the utmost voices on the planet; raw talent that could belt out the dictionary or the cocktail menu at a piano bar, and it would still sell. Their influences range from Bruce Springsteen to Joy Division; this sentence alone should be enough to intrigue you.

The National definitely pulls the plug on any arena rock desire, and that’s why I find them so stimulating. They have the potential to sell out arenas, yet choose pack halls, wall to wall instead. Primitive glum never sounded this good. They will take you to the dark side of the High Violet. It’s hard finding fault with this album, and I’d like to test one to do so. Like the band that created it, it’s an album that’s built to last.