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