Editor’s Note: To the right is one of the most hideously obnoxious album covers ever, for MGMT’s upcoming release Congratulations.

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MP3: MGMT – Flash Delirium from upcoming LP Congratulations

I never really liked MGMT’s first album, Oracular Spectacular, but I’d be lying if I said its three singles (“Time to Pretend,” “Kids,” and “Electric Feel”) didn’t approach guilty-pleasure status. What surprised me more was how the band’s Idiot’s Guide to Psych Pop approach managed to reel in a lot of my friends who wouldn’t ordinarily get into music this, well, weird.

I still can’t figure out why this happened. Having a very danceable beat certainly helps, and in that age-old pursuit of getting the opposite sex on the dance floor, MGMT seemed to work as effectively as “Party in the USA” or the latest Lady GaGa track. Despite the lack of any surface-level similarities,  it wasn’t unusual to hear such a pairing when I was out with said friends in Federal Hill (don’t crucify me). And sure enough, people danced. But I don’t think that entirely explains why this band was so universally appealing. To me, it’s still a mystery.

At the time, I thought their crossover success could be a good thing, like it would serve as some sort of gateway to enlightenment and much better music. Surely people could find bands with similar sonic elements to MGMT but much more complex arrangements and the light bulb would go off. In my own little circle, that didn’t really happen.

Now I can only imagine how my friends will react to the train wreck that is “Flash Delirium,” the first single off the band’s sophomore album, Congratulations. Essentially, the band took any redeeming qualities they once had (however few), and any good will they had earned from a living organism with a working pair of ears, stabbed them with a dull butter knife and then pissed all over what was left. We better hope some higher-up at the Pentagon doesn’t get a hold of this and ship it off to Guantanamo, because it will easily become the most effective torture device ever. [/snarky hyperbole]

But really, one can only imagine what the band was thinking when they sat down to write this, somehow thought it was worth recording and then, defying all sense of reason, released it into the world. There should have been red flags all throughout the process signaling the time to torpedo the track once and for all.

Oh wait, there were. MGMT’s Ben Goldwasser told Spinner recently: “When we first wrote that song, we were laughing so hard. Andrew [VanWyngarden] just reminded me of that — that we thought it was the funniest thing we’d ever heard.”

Okay, Ben, glad to know your ear drums are still intact. So why make the rest of us suffer?

“And then we got used to it, it started to sound more normal.”

It did? Really? How many opiates did you have to consume to reach that conclusion?

“It’s not a single, but we thought it was a good way to entice people to listen to the whole record.”

Seriously?! This?!

“I’m sure there are plenty of people who think it’s completely weird and not what they were expecting. I’m sorry.”

As well you should be. Too late now. Only time to analyze.

Basically, what they tried to do was take all sorts of genres and reference points– from a brief visit to their own electric origins to post-acid Beatles to punk –and cram them all into one 4-minute song. Some of the homages are only 30 seconds or so long. It’s like they tried to create the musical equivalent of that YouTube video about the evolution of dance, only they didn’t bother using any semblance of a chronological order… or transitions that make sense… or good judgment.

You won’t find any of the beats or hooks that endeared them to so many. The end result, if it isn’t already painfully clear, is an incoherent disaster the likes of which hasn’t been seen in a very long time. Everything they tried for, or at least what I think were trying for, didn’t work in any conceivable way.

So why?

Goldwasser said in the interview that the record was a response to the band’s rapid ascent to fame.

“We’re trying to come to grips with that world,” he said. “It’s not our world. We don’t feel comfortable in it. But we didn’t want to make that typical second album either, about fame. So we’re definitely observing it, as opposed to revelling in it.”

Their cure for that uncomfortable feeling, it seems, is to take that world and destroy it– to push everything away that brought it into existence. If the rest of Congratulations is half as bad as “Flash Delirium,” then they will truly get their wish, because the people who loved them before most certainly will not be back.

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MP3: True Womanhood – Dignitas from Magic Child Digital Single (2009)

True Womanhood have taken direct aim at one of the main limitations I initially appraised in their sound, namely a lack of diversity.  Without deviating from their dark and moody musical stew, they wring more refined permutations, nailing laser-precise shades of grey in their music to keep things always fresh and vital.  This maturation over a short period of time puts them, in my eyes at least, in rarefied air: they manage to take early, lofty expectations and praise and burn through it as fuel, evolving fast enough to keep pace with the landslide of praise.  And then outrun it.

Read the rest…

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MP3: Elvis Perkins in Dearland – Slow Doomsday from the forthcoming The Doomsday EP (Oct 20th)

MP3: Elvis Perkins in Dearland – Doomsday from Elvis Perkins in Dearland (2009)

Elvis Perkins in Dearland follow hot on the heels of their excellent self-titled release with word of an EP to flesh out the periphery of their ringleader’s musical vision, things that may have gotten left on the cutting room floor.

The Doomsday EP centers on a wondrous re-working of the already awe-inspiring ebullience found in “Doomsday,” a highlight from Elvis Perkins in Dearland.  With “Slow Doomsday,” you immediately know what to expect technically: a largo rendition of the eponymous track.  Beyond this, we find the more measured version brings us closer to the gospel roots of the track with its wide and stately expansion of sound and space.  The extra time on each and every note brings out untold levels of soul, wringing every last glorious feeling from each tone.  The coasting, newly formed solos are heartfelt and bracing testimonials, affirming Perkins soaring vocals in full affetuoso.

I would highly recommend you check out his live show, and keep Oct 20th on your calendars for a trip to the record store for this EP.

Check some videos after the jump.

Read the rest…

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MP3: Beach House + Celebration – Billie Jean (Michael Jackson cover)

I thought this little tidbit deserved its own space.  And given that I didn’t really make a big to-do about Michael Jackson’s death, I feel like this is a good, locally-grown tribute.  Let me break it down for you.

The formula: Beach House + Celebration + Michael Jackson + Metro Gallery Outdoors + Cool Summer Night = Win.

This special collaborative cut served as a wonderful nightcap.  After Celebration’s last song, the bands merged for an encore treat: Michael Jackon’s “Billie Jean.”  Victoria Legrand and Katrina Ford traded off vocals while the rest of Celebration and Alex Scally reproduced that supple, instantly recognizable throbbing beat that just moves you in the way few can.  A faithful rendition with a bit of added flourish in the form of richer synth tones, some and vocal tweaks.  Two of Baltimore’s best, covering one of pop’s icons.  Doesn’t get much better.

Stay tuned for the full sets from both Beach House and Celebration (taped by the Baltimore Taper) later today.

Just thought this deserved posting.  Our Wye Oak love continues unabated (wait til you see all the superlatives I hurlat upcoming album The Knot) with this brand spanking new track, live from Whartscape 2009 in front of the BMA:

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MP3: Untitled New Song – Wye Oak, Live from Whartscape 2009 (by the Baltimore Taper)

Jenn & Andy also won the awards for Best Dressed and Artist Who Is Most Likely To Play As The In-House Band For A Church.

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MP3: Discovery – I Want You Back (In Discovery) from 2009’s LP (Jackson 5 Cover)

Editor’s Note: LP was dropped a week early for $8.  $2 goes to Oxfam America.

I think I’ve done my fair share of radio bashing here at Aural States. Whether it was by wholeheartedly agreeing with Spectre’s assessment of modern hip hop radio, or whilst dissing the filler-engrossed waves put out by what was once 99.1 HFS, I think I’ve made my opinion clear (of course, for these purposes, I ignore the few respectable oases still in operation today. Props to WTMD and WPFW for solid programming).

As if to spite FM radio’s gloomy condition, Discovery, the product of Ra Ra Riot vocalist Wes Miles and Vampire Weekender Rostam Batmanglij, have found something to like about turning on their dials. They find use for the treading beats and beaten-to-death subject material thrown together by dozens of half-assed MTV projects, the difference being that their output is surprisingly enjoyable in its entirety, rather than only mildly so in single form.

The most interesting track on their debut, LP, comes in the form of a Jackson 5 cover. They deftly dodge the the problem of recreating Mr. Jackson’s superpitch vocal work by using R&B’s recently popularized all-purpose miracle cure–autotune, suitably reimagining one of Motown’s greatest tunes in context with modern radio conventions (right down to the too-fake-for-life drum kit and glazed-slick production). The funny thing is, it sounds completely authentic, like something blasted out of a high-schooler’s mom’s minivan on the ride home after senior prom. Because they’ll remember that moment for the rest of their lives.

Their song selection couldn’t have been more appropriate for a good-ol’-fashion modern-meets-classic comparison. The Corporation-written chorus progression translates well into any medium, and the lyrics remain just as relevant today as they were 40 years ago. Past releases have proven that all performers involved have a keen eye for catch, making Discovery’s cover an ideal candidate to show where pop music has gone.

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MP3: Cex – Last Gazp

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MP3: Cex – Brains Out

Cex aka Cexman aka Rjyan Kidwell recently dropped his new wax, Bataille Royale, on a Baltimore scene that is more than ready for this addition to its musical vocabulary.  This record is unquestionably the product of a bombed out soul, a spirit that is truly and uniquely urban.  Here we find soundscapes that, much like dub, reflect the darker side of the metropolitan experience.  Kidwell has openly stated this is a response to the predominance of standard (and saccharine) tropes of indie rock and psychedelia, and it certainly succeeds in presenting an alternative flavor.  Cex has carved a musical document that channels Baltimore while pond-hopping around various subgenres of electronic and hip-hop.

The first track, “Last Gazp,” is a burnt-out aural landscape: expansive and distant, while somehow, paradoxically, claustrophobic and overbearing.  Recurring machine-gun rattles are jarring and immediate, especially when juxtaposed to the mysterious melody.  ”Brains out” is a dark and foreboding, borderline psychoses-inducing cut of techno, the only words being exhortations of: “Blow your brains out.”  These tracks, and this record, deserve to be digested and pored over.  Each listen brings out more and more facets of this gem.

But, the real meat of Cex lies in his masterful live sets.  Lucky for us, this month’s More or Less party at the Hexagon has Cex performing tonight (he’s even giving away some copies of Bataille).  You can pick up copies of Bataille Royale at the lovely True Vine.

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MP3: Mike Watt – Dirty Blue Gene (Captain Beefheart cover) from Neon Meate Dream Of A Octafish (2003)

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MP3: Captain Beefheart – Dirty Blue Gene from Doc at the Radar Station (1980)

In my review of Mike Watt’s brilliant performance Saturday night (outshining even the massive Dinosaur Jr.), I remarked that he bears some startling similarity to Captain Beefheart.  From the scorched-raw vocals, to the frenetic free-jazz breakdowns soaked in punk rock, there were just too many instances of this parallel for it to be coincidence.

I love it when I’m right.  Behold, a little searching unearthed Mike Watt contributing an extremely faithful cover of “Dirty Blue Gene” to a 2003 Captain Beefheart tribute comp titled Neon Meate Dream Of A Octafish.  The original was a classic Beefheart track: blistering, mind-bending instumentals (only outdone by the lyrics themselves) that congeal into an oddly satisfying and remarkably funky groove.

I think it pretty much speaks for itself.

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MP3: Wye Oak – Take It In from the forthcoming 2009 LP The Knot

Our friends Jenn and Andy, perhaps better known outside Baltimore as Wye Oak, have dropped the first bombshell from their sure-to-be-huge sophomore album on vaunted label Merge Records.  The premiere track “Take It In” is one we actually premiered on this site a long time ago as an untitled new song in their live set from the If Children re-release at the G-Spot (courtesy the Baltimore Taper).  It is undoubtedly one of their best songs, and has long been a favorite of mine.

The invaluable peek at the new album’s sound records for posterity what all of us in the area have known for quite some time now: Wye Oak’s sound is continuously growing bigger and more textured, getting closer and closer to their multi-instrumental visions.  Their live sets have told us to expect healthy amounts of harmonium.

One of the most noticeable accents they’ve made on this track in the recording process was adding in the quavering ebb and recede of what could be a pedal steel melody (not surprising considering their penchant for roots folk and the recording of the album in western Maryland), hovering above the entire mix, organically flowing between the role of atmospheric drone and occasionally dipping in to harmonize with and bolster Wasner’s still-gorgeous vocals.

Listening to how they’ve recorded this track, I can’t wait to hear how they’ve finished off “For Prayer,” easily one of their most moving, soaring tracks that really lets Jenn rock out.

Check out our past, extensive coverage of these Aural States Fest alums, and our in-depth interviews here and here.  Their live sets are nothing short of phenomenal.  Stay tuned for more in-depth Wye Oak news as their new album approaches.

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MP3: Frenemies – Having Sex

Frenemies is the nom-de-guerre of one Chris Freeland, sound wizard behind a vast number of your aural experiences in and from this town, regularly working sound at the Talking Head and engineering any number of albums from local artists.  But when he’s not behind the EQ, he makes some pretty fantastic music of his own.  Look no further than his days as drummer for Baltimore legends Oxes.

His Frenemies project has been a bit infrequent lately, rarely playing out and sporadically dropping nuggets of goodness like mana from heaven to a privileged few.  A week or so ago, Chris dropped the Spring-beckoning track “Having Sex” on me and I haven’t been able to turn it off since.

The fantastically playful melody starts things off, simply tapped out on a Casio.  Collaborator Steve Hefter drops some baritone, sleepy vocals to set the mood perfectly as the entire track coasts along at a steady, lackadaisical pace, gliding along like a gentle, smooth breeze on a lazy sunny day.  Your head is swiftly lost in a haze that perfectly mimics that blissful bit of post-coital haze.  A special treat arrives when you find the supporting female harmonics are actually Jenn Wasner’s, her lush voice turning out a Francophone version of the chorus a little over a minute into the affair.  The particularly inspired inclusion of horns-and-hand-claps really gives the track a great, classic lounge feel that conjures nostalgic images of the classic crooners while mixing with the synth melody, closing out the track with gently fading harmonic reprisals of the refrain.

You would do yourself a disservice to not have this song on your spring/summer soundtrack.