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Bachelorette – My Electric Family

61jF6xS3F%2BL._SS500_ Bachelorette - My Electric Family

Christchurch, New Zealand native Annabel Alpers, known to you and I as Bachelorette, is a quiet, sultry force that you can’t even reckon with. Her debut for Drag City, and second proper album, has been described by a couple of writers as a sort of quirky “bedroom pop.” I wholeheartedly disagree. My Electric Family is expansive, radical, and ionospheric. Packed with reverb, sweeping moods, and surrealistic lyrical motifs, Bachelorette is way too large for any bedroom.

Each of the 11 songs on My Electric Family can certainly be categorized, loosely speaking, as pop. But that, too, is not accurate. When I think of “pop,” as it were, I tend to recollect music that would be kosher to play around my folks – you know, The Shins and shit. There’s something viscerally strange about Bachelorette that I can’t quite pinpoint. Her sound is certainly in the vein of Broadcast, Pram, and Blonde Redhead – tightly constrcuted songs, hummable melodies, a vague retro-futuristic slant, and an undeniable allure. However, the soundscapes themselves – constructed mostly from acoustic guitar, warm analog synthesizers, polyphonic vocal effects, and a variety of playful samples and bountiful noise flourishes – are tacitly otherwordly and atomic. On her MySpace, Alpers writes “Bachelorette took too many mushrooms and fell in love with a computer.”  That’s as great of a description as any.

While the disco-friendly “Mindwarp” and “Her Rotating Head” are beginning to make their rounds around the Interwebs – and are the obvious single choices – My Electric Family’s more askew corners are what make Bachelorette fascinating. “The National Grid,” with an atmospheric stomp rhythm, repetitive vocal sample backdrop, and rising swells of static, reminds me of the exciting first measures of Panda Bear’s “Comfy in Nautica” with a drugged out Enya as the backing band.  The phantasmagorical “Instructions for Insomnia,” featuring swirling and soaring analog melodies and driving cowpunk rhythm, evokes a bizarre bucolic mileu, like driving your truck offroad on a Martian farm out of The Sirens of Titan. “Long Time Gone” is a crafty space pop gem somewhere between a major key Kid A and the communication signal at the end of Close Encounters of the Third Kind. Album closer “Little Bird Tell Lies” is a fun, frolicking, childlike psych ditty that, while sounds simple enough upon first listen, is built upon immesaurably thick layers of disparate sounds that mesh together in an astonishingly seamless manner. Don’t even think about listening to this album on shitty iPod earbuds.

Even when Bachelorette plays it straightforward, like the psych-twang electric folk found on “Where to Begin” or the piano waltz meets Raymond Scott’s space age bachelor pad jam of “Dream Sequence,” it feels just as exhilerating. Perhaps it’s Alpers voice – it’s distinct and gorgeous in the traditional sense, and yet holistically unlike anyone else (much like Broadcast’s Trish Keenan). Alpers never sings toward you – she seems to be singing behind you with a fortissimo whisper, in the corner of the room with her Doc Brown shades obscured by a wall of technology imported from an alternate future.

Without trying to hype this too much, My Electic Family is truly a hazy, dreamy, kaleidoscopic journey, packed with imaginitve strangeness and oddball beauty – a downright perfect record that serves as the surprise masterpiece of 2009.

Let me break it down like this. Bachelorette is my absolute favorite new artist. I have not been this excited about someone relatively new since my first exposure to Deerhunter through Cryptograms (no offense to anyone else I’ve covered). Here’s a screen cap of my Last.fm this week:

screencap Bachelorette - My Electric Family

That’s what’s up.

Hope you don’t get sick of hearing about Bachelorette, because she’s getting a lot of coverage on this blog. Get used to it. Fuck the new Grizzly Bear album, My Electric Family is out now on Drag City. Picking this album up was the most important thing I did this week – I suggest you do that same.

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steelydan1 Bachelorette - My Electric Family

For fans of:  Broadcast, Tickley Feather, Electrelane, Pram

MP3 :::
Bachelorette – The National Grid
Bachelorette – Donkey

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Magik Markers – Balf Quarry

balf-quarry Magik Markers - Balf Quarry

Now operating somewhere in between the frequencies of Red Krayola and the Raincoats, bare knuckle front-woman Elisa Ambrogio leads the Magik Markers deeper in their quest to mend the fault line between rock deconstruction and a recently budded pop-sensibility on their new album Balf Quarry.

With the album title being a reference to their home town, it is fitting that we find the group stripped down to a duo, reaching for a balance between 2007’s comparatively accessible Boss and the noisier catharsis of their earlier output. The result is a thick visceral batter of rock’s outstanding subversives for the past 30 years all mixed into one. “Don’t Talk in Your Sleep” conjures a detached aggression á la Scout Niblett. Spearheaded by a martial guitar lick, pounding snare rolls, and Elisa’s vengeful narration, it produces a castrating swagger that makes PJ Harvey look like a harmless subway performer. Amazingly, the Markers keep this pace for the majority of Balf Quarry, taking very few breathers throughout the 10 tracks, and when they aren’t swinging for the fence, they opt for brief explorations of the less offensive, but no less compelling angles of their song writing.

One such example is the mid-album gem “7/23″, which contrasts a catchy vocal melody reminiscent of K Records playfulness and a distorted horse-trot percussion that gradually latches on to the beat. Minimally constructed, and confidently realized, this is one of the best songs I’ve heard all year. A similar ambiance is forged on “Psychosomatic”, a twitchy, downer version of The Shaggs’ child-like aesthetic filtered through a dense neurosis.

But in lieu of all this name dropping, perhaps the most remarkable feat is that Balf Quarry is more than the sum of these influences. It’s a triptych of lustful garage howls, off-kilter pop songs, and a few crusty free form jams to mediate both ends of the spectrum. The Magik Markers have become a true adversary to anyone making safe music, and this is their fire-eyed call to arms. A surefire candidate for the 2009 Best Of lists.

Fagen-Becker Quality Rating
steelydan1 Magik Markers - Balf Quarry

Balf Quarry is available May 5th on Drag City.

For fans of:  Sunburned Hand of the Man, The Red Krayola, early Animal Collective, The Dead C, Faust

MP3 :::
Magik Markers – Don’t Talk in Your Sleep
Magik Markers – 7/23

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From the Grave, FTW

Death

Drag City recently unearthed a long lost, blistering proto-punk artifact. In 1974, the Hackney brothers, three young black men from Detroit, started jamming under the name Death. They made one record, a uniquely raw and aggressive take on classic rock, and were never heard from again, until now. Three decades later, it finally gets a proper introduction, and this time…For the Whole World to See.

According to a recent interview with bassist Bobby Hackney (Via TimeOut), Death would have never coined their harsh sound if it weren’t for their mom’s bouncer boyfriend who would sneak the trio in to see such acts like Iggy & The Stooges, MC5, and the Who. The brothers Hackney immediately went out, got their instruments, and started channeling the energy of rock into something much more primitive. The rest is history, or rather, it should have been. A combination of bad timing, arguments with the label over the band’s presentation (namely, well, their name), and a generally ill-prepared state of music allowed this missing-link of punk rock to fall through the cracks.

A remarkably well-aged time capsule of hefty hooks and driving power,…For the Whole World to See, is finally available for discovery on Drag City.  Photo by Tammy Hackney.

MP3 :::
Death – Rock-N-Roll Victim
Death – You’re a Prisoner

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Six Organs of Admittance Returns to Zero

ISSUE20B Six Organs of Admittance Returns to Zero

A friend of mine once wrote that his first experience seeing Six Organs of Admittance live caused pure dimension, in addition to believe things that were not true.  He was convinced his apartment had a fourth room, which it did not, and he was ready to take a hammer to the bathroom to discover it.  This, of course, only scratches the surface concerning the mystical power of Six Organs’ incandescent, eastern tinged, enveloping psychedelic modal noodling.  It’s barely conceivable what some would do to grip the rarest of Ben Chasny’s repertoire.  Lucky for us, RTZ (Return to Zero) curates some of the rarest and some of the best on one priced-to-own brain burner. Continue reading ‘Six Organs of Admittance Returns to Zero’

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