Juana Molina - Un Dia

Un Dia is fifth album by Argentine singer-songwriter Juana Molina. Musically she combines Argentine folk song elements with modern indie, post-rock and electronic currents. The tone is set by nylon string guitars and multi-layered vocals-as-instrument overdubs. On the new album one also notices a bit of rhythmic complexity. Even though the percussion sounds usually light, here are heard interesting syncopations, the motorik persuasion of electronic dance music and even unusual time signatures. Structurally the music emulates techno, the composition of pieces often gives a lot of computer musicians a run for their money. Except that textures are all organic sounding and in terms of mood the result bears affinity to South-American folk music. Generally this is a masterfully executed indietronica/folk/post-rock album, even if it all sounds a bit introverted. This is a truly mellow album. Not recommended for those who are always in a hurry.

Efterklang Live @ Von Krahl, 26.11.2008

The evening of 26th of November saw Danish contemporary chamber-rock flagship Efterklang perform at Von Krahl Theatre Bar in Tallinn, Estonia. The band who has been compared to acts diverse as Animal Collective, Björk, Arcade Fire or even the famed Estonian composer Arvo Pärt. Efterklang were warmed up by chanteuse Eva Mitreikina, who presented her recently released debut album.

First, Aivar Tõnso served as a DJ. Shortly after half past 9PM Eva Mitreikina appeared onstage, accompanying herself on the acoustic guitar. Although the accompanying instrument was weakly heard, Mitreikina's voice sounded clear. Her fragile, vulnerable and spirited performance also included a touch of childlike sweetness. Her performance was occasionally sabotaged by loud feedback from the mics.

Then the main stars of the evening appeared. Efterklang came onstage as a seven-piece and it was clear that the stage was so small it barely could contain this big lineup and all the equipment that the band used. I was ready for the possibility that perhaps the group's chamber rock sound this evening might be geared a little too heavily on the chamber side of the fence. But surprisingly the balance was pretty good: there were both chamber and rock! The band balanced the soft and loud moments very well, along with composed sections and more freewheeling jams.

Each member performed on at least two instruments. The main drummer in the band often shined with his parts on the pocket trumpet (a compact version of the conventional trumpet that nonetheless sounds no different at all) which when combined with flute or sometimes even alto sax (played by one of the guitarists) formed quite a formidable horn front-line here and there. The lead vocalist also played drums and at the more powerful sections the double-drum attack clearly strengthened the sound. The violinist occasionally also sat behind drums, allowing the main drummer to shine on his brass instrument. Occasionally all three drummers played together. Particularly memorable was the group drum solo at the end of one song which proved that drum solos do not have to be boring. Perhaps the collective interplay did the trick?

One could expect Efterklang to come across as a serious band. However, the band felt freely onstage, their stage banter was humorous and they openly communicated with the audience. The contact with the audience was impeccable. Therefore it is safe to say that with its subtle and eclectic music, shining and energetic live performance and connecting well with the audience Efterklang not only is avant-rock at its most diverting, but this band clearly rendered one of the most memorable concert performances in Estonia this year. One can't help but think how this band would sound like on a bigger stage.



Some photos of the event here.

Squarepusher - Just A Souvenir

Tom Jenkinson is clearly one of the most talented electronic musicians in the last two decades. At the age of overabundance in computer generated music it is important to discern true talents from the sea of mediocrity. Jenkinson, known as Squarepusher, has not only created his own unique electronic sound. How many electronic musicians are also gifted composers, have a good melodical sense and can also play not just one, but several conventional instruments?

After the more difficult and challenging albums with a more industrial sound a la Do You Know Squarepusher (2002), Jenkinson has moved towards a more organic and multi-instrumental sound picture. Already the transitional album Ultravisitor (2004) showed Jenkinson playing acoustic drums as much as programming his trademark chaotic beats. It also included interludes for classical guitar. Even more accomplished of a work was Hello Everything (2006) the front cover of which depicted all the instrumental roles as performed by Jenkinson on the record.

Just A Souvenir continues the trend towards the more live- and instrument-oriented sound. For this album Jenkinson found inspiration for a surreal dream involving a live experience, that he is attempting to translate into the music here. It sounds as if Jenkinson rather plays the drums as opposed to programming the beats. Then again his drumming is increasingly more similar to his innovative beats in terms of sound and texture. We can also hear more guitar (and bass), including the classical guitar interludes, a tradition since Ultravisitor. As a composer and a musician Jenkinson has clearly developed a fair bit.

Of course this album presents Squarepusher at his known goodness. "Star Time 2" demonstrates once again that Jenkinson has always composed and selected great songs for album openers. Squarepusher has always referred to jazz-fusion, especially being influenced by Weather Report. As a bassist, Jenkinson has often been considered as Jaco Pastorius of the electronic age and it is unlikely that this album would challenge this notion in any way.

This album, however, is the most jazz-fusionish work from Squarepusher. Jenkinson presents jazz fusion as it would have evolved had it still stressed innovation, instead of overrating virtuosity, the fate that overruled much of jazz-fusion in late 70s. What's more exciting: this album also rocks from time to time. Songs like "A Real Woman", "Planet Gear" and "Tensor In Green" (the latter also featuring some fuzz-bass workout) include a rocking energy few jazz-rockers have captured, but with its chilly surfaces they retain the same atmosphere as his more electronic work.

Just A Souvenir shows Squarepusher as a talented composer, producer and multi-instrumentalist who has a signature sound, but whose approach is always interesting and different. Who only plays the music he wants to but gets better at this. This album is Squarepusher's most mature work to date.

Pluramon - The Monstrous Surplus

Pluramon is one of the many projects of German composer, electronic musician and producer Markus Schmickler, that has been active already since the nineties. The project that originally performed instrumental post-rock and whose early records featured none other than the legendary Jaki Liebezeit himself on drums, shifted direction into My Bloody Valentine influenced dream pop on the third album Dreams Top Rock. At the time when several electronic artists (M83, Ulrich Schnauss et al) adapted the haziness of textures as was the wont of shoegaze, such step seemed logical. On this album called The Monstrous Surplus the pop melodicism is at the fore as much as the druggy wall of sound from guitars and synths. Ergo, Pluramon has become a vehicle for the poppier ideas of Schmickler.

As on the previous album, American actress/vocalist Julee Cruise (of Twin Peaks fame) can be heard on vocals. Two additional female vocalists are also employed. Occasionally Schmickler himself sings too. Even though there's little that is strikingly new musically, The Monstrous Surplus nonetheless boosts an intimate, though often bleak ("Fresh Aufhebung") atmosphere and occasionally a memorable melody ("Turn In") that makes it a worthwhile listening.

Capillary Action - So Embarrassing

Capillary Action is a modern avant-garde progressive rock band from Seattle and So Embarrassing is the Jonathan Pfeffer-led band’s second album. In terms of vocal manner and jumping from style to style the parallels with Mr Bungle are instantly drawn. Other acts that sound somewhat similar are Kayo Dot, Time of Orchids and even Mars Volta at times. The band fuses math-rock, fusion, metal and progressive jazz in their music. Unlike Kayo Dot, who plays lengthy compositions, Capillary Action’s songs are short, the entire record lasts for little more than thirty minutes. Nonetheless the songs are closely tied to each other, the entire record comes across as a song cycle. Compositions sound nervous, fractured and schizophrenic. At its worst they come across as exercises in how many changes in tempo, mood and time signatures it is possible to cram into a couple of minutes. Nevertheless the music is masterfully performed, impeccable horn and string arrangements are heard and some of the moments are truly brilliant and memorable (particularly the standout track „Elevator Fuck“). Still, Kayo Dot performs in the similar avant-prog style in a more fluid and mature manner.



Capillary Action performing "Placebo or Panacea & Bloody Nose"

Deerhoof - Offend Maggie

The work of San Francisco indie quartet Deerhoof has consisted of, throughout the times, practically everything intriguing in the underground rock in the last four decades: from Zappa/Beefheart styled freakiness to the Boredoms type noise-rock. Their previous album Friend Opportunity presented a more polished style. One difficult lengthy improvised piece excepted. Their latest, Offend Maggie, is from start to finish totally coherent and more easily accessible, even if their eccentric style is once again more guitar based and rawer sounding, with occasional folk elements thrown in.
Despite the short length of songs (the longest clocks at mere five minutes) the compositions are quite elaborately constructed, from intriguing time signature changes to the subtle harmonic and melodic labyrinths. This here is not your usual indie rock with pretenses of underground aura. Underneath the noisy and angular style a skillful compositional talent is revealed. Deerhoof has proudly deserved their place in the avant-garde of modern arty alternative rock.