JULIAN PLENTI IS...SKYSCRAPER - Julian Plenti

JULIAN PLENTI IS...SKYSCRAPER (LP) - Julian Plenti
(Matador Records)
Released August 4, 2009
By David Zielinski

When a member of a well-established band releases a solo side project, it can really only go one of two ways. Sometimes, the talents and creativity of such artists are able to flourish free of the confines of their group, allowing them more control to express their vision, while at the same time solidifying their status as a true talent (see Stephen Malkmus' post-Pavement solo efforts). Other times, such solo endeavors simply highlight the interdependent nature of bands, in which the irony emerges that in order for each member to realize his or her individual artistic vision, the artist needs the collective effort of their fellow band mates. (see Paul Banks's Julian Plenti is...Skyscraper).

The album starts off in familiar territory for Banks. Openers "Only If You Run" and "Fun That We Have" could easily appear on an Our Love to Admire-era Interpol EP. Their spacious landscapes, filled with minimal guitar parts, restrained keyboards, driving drums and Banks's read-between-the-line lyrics, feel right at home to anyone familiar with his back catalog. This raises the first flag—it feels just a little too much like Interpol. It begs the question: Why didn't Banks save these for a future Interpol project? This feeling is further intensified by the fact that none of these songs especially stand out, which may lead the listener to wonder whether they could overcome mediocrity if Interpol's Carlos D and Sam Fogarino were at the helms of the rhythm section.

When Banks strays away from his roots, the result is a mixed bag, although it definitely produces some of the most interesting songs of the album. "Skyscraper" shows a softer side of Banks's compositional skills—it's a haunting acoustic number full of string and piano arrangements that builds and releases beautifully. However, some attempts, such as "Madrid Song," just seem to slowly drift nowhere.

It would be wrong to write off Julian Plenti as a failed solo attempt. Banks does manage to expand his sound. And while it does make one curious to see his future efforts, it's hard to shake the feeling that if Banks had a little help, this could be an exceptional album—and he has that help readily available. It is hard to separate Interpol from Paul Banks. He may not like that statement, but it may not necessarily be such a bad thing after all.

EATING US - Black Moth Super Rainbow

Eating Us (LP) - Black Moth Super Rainbow
(Graveface)
Released May 26, 2009
By Quentin Dupree (a.k.a, STIGMA)

Indie bands and musicians tend to bare sincere emotions in their music, usually because they have a customized fan base of like-minded individuals. Some artists choose to use their underground status as a chance to experiment, boldly disregarding conventional sounds and arrangements. Black Moth Super Rainbow falls under this illustrious category. Free of mainstream restraints, the group continues to liberate ears with its sophomore album Eating Us.

Black Moth Super Rainbow is a band from Pittsburgh, PA, that dabbles in synth pop, space rock, psychedelic funk, and other uncharted sub-genres. After years of honing their skills and perceptions, the Pittsburgh band delivers their most unique album yet. Eating Us is a 36-minute-long cyber-serenade that is welcoming to both new and old listeners.

The first track, “Born On a Day the Sun Didn’t Rise,” is a driving opener accompanied by gentle guitar strings and nostalgic synthesizers. The song invites you into the true mind of Black Moth Super Rainbow. Another stand-out track on this experimental album is the cinematic “Gold Splatter.” The auto-tuned chants of a beautiful dream grant this song an air of fragile tranquility.

Not every track is cheery and peaceful, though. The tune “Iron Lemonade” eases the pace of the album into a darker place. The high-speed synthesizers and aggressive cymbals give way to the coldest composition on the album. “Tooth Decay” is another token black moth within this super rainbow, pounding out apocalyptic drum patterns, complemented by gothic keys. “Fields Are Breathing” is a transitional song that combines the dark and bright elements governing the album.

Like most projects, Eating Us is burdened with some lows that take away from the highlights. The imagination of “Bubblegum Animals” practically ends with its title, as it drags on for roughly a minute with no clear mission or emotional center. Undeserving closer “American Face Dust” lacks the dynamic power of the previous songs.

This album does not have the strength to be a landmark, but it does show potential and exemplifies growth since the group’s debut. Eating Us is more organized and has grander sounds than the band’s prior project Dandelion Gum. The group took more risks and still kept their trademark appeal, all the while creating an easily-digestible, trippy album.



Quentin Dupree, a.k.a, STIGMA, is a not-so-southern emcee who dabbles in techno and 1960s rock and roll samples to make powerful music. He's working on the King of Arcades mix-tape due out this winter, runs the stigmalitia blog, and performs in small venues around the Atlanta metro area. For more information: myspace.com/stigspace, thestigmalitia.blogspot.com

AMBIVALENCE AVENUE - Bibio

Ambivalence Avenue (LP) - Bibio
(Warp Records)
Released June 23, 2009
By David Zielinski

Looking at the résumé of Bibio (a.k.a., British producer Stephen Wilkinson), accessibility does not appear to be a major driving force in his artistic career. Studying "sonic arts" in Middlesex England, he developed an interest in experimental music, which would lead him to work with the Scottish experimental electronic outfit Boards of Canada. All signs suggest his solo work would be a dense smattering of ambient sounds, droning background noise, and synth chords that last longer than they should. Surprisingly, he shatters any preconceived notions of what he should sound like with several albums full of dreamy acoustic guitar phrases affected by distortions, filters, and any garage sale equipment he could find. While his previous efforts have had their merit, after a while it seemed that he, too, was facing the same criticism much of the ambient music that shaped him faced: it all sounded the same. However, on Ambivalence Avenue, his Warp records debut, he develops his sound and, in turn, has produced one of the most surprising albums of 2009.

The opening title track is a fitting starting point since it is a good representation of Bibio's unique strengths. A simple clean guitar line layered over string and horn samples create a summery pop tone that permeates the rest of the album. Bibio is at his best when he channels summer-of-love British folk on tracks such as "All the Flowers" and "Abrasion." His vocals confirm this influence as the album is filled with layered harmonies as well as capable falsetto.

Ambivalence Avenue's most pleasant surprise is that many of its strongest moments are when Bibio strays from his finger-picked-guitar-with-obligatory-sample-and-beat formula. He ventures further into his electronic upbringing on tracks such as "Fire Ant," in which the repeated vocal line and classic hip-hop beat are more akin to Flying Lotus than anything Boards of Canada would ever conceivably do. He even dips his toes into some light 8-bit synth work on "Sugarette."

Ambivalence Avenue draws from so many influences and sounds that it may seem at first as though the album has no cohesiveness. The constant shift from Bibio's folk to electronic tendencies creates a disjointed flow that may be off-putting to some, but after repeated listens the two instincts merge into a collage of sound that forms the perfect summer album. Bibio's strength is fundamental, but difficult: he creates songs that each have their own character and feeling where in the end, the whole is not necessarily greater than the sum of its parts.


David Zielinski is a guitarist currently performing solo throughout Atlanta and Athens, Georgia. He is currently working on an untitled blues and pop EP to be released later in the year.

GOT NUFFIN - Spoon

Got Nuffin (EP) - Spoon
(Merge Records)
Released June 30, 2009
By Travis Catsull

Spoon delivers their sixth EP in shotgun form by announcing it a week before the release date, and overall it’ll be stacked on the shelf with a passing glance—a glance everyone is nearly forced to make lest they miss a hidden jewel. More of a single for the title track than anything, it’s Jim Eno’s drumming that comes to the forefront and sets the stage. Easy to hear is the Deerhunter influence, as it was recorded by the Atlanta band’s soundman in their half-famous Rare Book Room in Brooklyn earlier this year. Even with that keynote undertone, “Got Nuffin” sounds like The Black and White Years could’ve recorded it with Jerry Harrison on the opposite coast, as it has that lingering vocal approach that all SNL bands are required to possess. Honestly, “Got Nuffin” is a catchy song and is destined to find its keg full of college radio play, but it can’t escape that “another-average-Spoon-song” feel that’s unshakeable even after double-digit listens.

Surprising is the second track, “Tweakers,” which is a low-fi cut-up Britt Daniel pasted together about a month or so ago. This song would be perfect if you and Tom Waits had just done a line of coke and were orbiting the moon on a spaceship where no one could speak. It would also be perfect if you made it, because you probably could. It’s a drum loop with some chimes and shit in the background and will probably be the song most people go back to in a year or so.

The EP rounds out with a more psychedelic guitar sound than you’re used to hearing from Spoon on the song “Stroke Their Brains,” a dark horse of a song nuzzling the gate of a movie soundtrack with ghoulish background vocals and synth vibrato countering the warbling wammy bar.

Spoon fans are going to enjoy this Win-Place-Show trio of indie rock versatility. At least it’ll give them something to drag around in their iPods until the new album is released. And the way Spoon’s PR team is announcing things these days…that could be tomorrow.


Travis Catsull works for Business Deal Records, an artist collective in Austin, Texas. He is working on a new album with the band The Potlikkers and is also part of the group Charles Potts Magic Windmill Band. Travis will release his third book of poetry this fall with Tsunami Inc.