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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.

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My roommate silently stalked over to my computer and asked what I was listening to.

“The new Title Tracks single,” I replied. Looking over my shoulder at the four or five possible concepts I had sprawled out on a sheet of printer paper, he asked if I was writing about this song. “Yes,” I said, trying to quiet his apparent suspicion. He began to chuckle as he stared at my notes. I asked him what he’s laughing at, to which he responded: “Nolan, it’s a freaking pop song.  Quit analyzing it like one of your David Byrne albums or something.”

He probably walked off mumbling something about a punk band, but I wasn’t listening. He was right about one thing there: Title Tracks (and their debut single, Every Little Bit Hurts) does not attempt to revitalize pop music.  In fact, I think it’s safe to say Title Tracks do nothing but add to the already-crowded guitar pop genre.

That being said, “Found Out,” the better half of Every Little Bit Hurts, shows a lot of promise from these DC indie-poppers. It stars some extra-tense guitars working like a loaded spring, only gaining a moment’s rest during the pop-standard chorus.

The sugar-soaked tune (clocking in at a whopping 2:35) is just long enough to allow a fair amount of familiarity, but somehow feels like it could still use some trimming. The first verse introduces itself like a walk through an uncomfortable neighborhood at 3AM, and before you know any better, it transforms itself into a liberating power-chorded refrain.  It just gets a little irritating when you hear the same chorus for the third time in less than three minutes, almost as if you know they simply decided to throw in the once-delightful bit wherever they could.

Title Tracks seem to have this issue all over their single. While each individual piece of any given song is strong, their copy/paste outlook ruins much of the enjoyability that may have been possible. If they clean up their song structure a little bit, I’ll be looking forward to see what these guys do with an album.

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MP3: The Presets – If I Know You

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MP3: The Presets – If I Know You (Heartbreak Remix) (thanks Modular!)

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MP3: The Golden Filter – Solid Gold

I’ve already paid lip service to “If I Know You,” one of the Presets’ most triumphant, and definitely the most sublime, tracks off 2008′s Apocalypso.  Julian Hamilton’s lingering, sombre vocals gliding atop the distant, steadily pulsating backbeat and back-mixed synth chord progression gives the entire track a naked, vulnerable feel that stands hairs on end, like a brisk pre-dawn breeze drifting over your skin.  Subtle reverb lilts off the vocals, casting  a further haze over the track.  Three-fourths of the way through the track, the bottom drops out to give way to gorgeously appointed, understated vocal harmony that is crushing, reaching the apex of their weight and vulnerability.  The fact that they scored a tastefully edited, equally sublime music video showcasing a mixture of modern, ballet and various other forms of dance is just icing on the cake (video after the jump).  Not surprising, considering we found in our interview that Hamilton’s brother is involved in dance.

But even more great news just hit the wire: the Presets are releasing both a single for “If I Know You” (dropping early April and packed with remixes of the titular track, including a particularly fantastic instrumental by Tom Middleton) and a new collector’s edition of Apocalypso (dropping May 5th) that includes a second disc, also full of remixes.

The Presets are hitting the 9:30 Club in DC tomorrow, Wed Apr 1, with the Golden Filter.  The consensus from their tour opening for Oceania-mates Cut Copy seems to be that their live show regularly trumped the headliner’s, on all levels.  I can testify to it being a gloriously sordid and sweaty affair that really can’t be beat for good times and good tunes.

Vid, tracklist for collector’s edition and complete tour dates after the jump.

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MP3: David Byrne & Dirty Projectors – Knotty Pine

Time-honored new wave icon David Byrne (Talking Heads) joins forces with contemporary experimentalist Dave Longstreth, also known as Dirty Projectors, to release the recording “Knotty Pine” for The Red Hot Organization’s Dark Was The Night.

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