Gust of Wind # 11
Taken by Trees, East Of Eden
Rough Trade

This Gust of Wind comes to us with a sincerity that follows down a path of raw tradition, fluently mixing two cultures together that are connected by the past, and haunted by the future.

East of Eden’s songs are thoroughly accessible, and most of the music comes from instrumentations generally found in the World genre. On their latest effort, Taken by Trees makes it clear that Pakistan’s rich musical history is expressed through the lens of the western world’s pop culture. The album is soothing to say the least. It lays with a beautiful texture that calls upon peace to all. I see the flags blowing in the wind, and the rich fulfilling ability of East of Eden lifting the hearts of millions.

The Animal Collective cover “My Boys” is for sure a flowing treat of a jam, which makes smiling easy. Another favorite moment is the tune “Anna.’ Right from the beginning Taken by Trees puts you in the middle of group chant. The field recordings are vibrant, and as the voices fade, the song rolls through to reveal itself.  The melody stays with you long after it passes by, which is a reoccurring theme on this record. Quite honestly the whole thing is fantastic. It breathes new life into sound, and takes the time to instill a sense of deepness. I recommend turning the lights to a minimum, maybe a candle, bottle of red, and some shared time with close friends.

This record does make me think about more then just music. Is America’s beauty as deep as we think? Have we lost the raw sensibility of originality? By erasing the lines of our ocean’s shores, have we covered up America with the world? Do we erase the nature of other cultures by assimilating them with our glory in self righteousness? These questions might be too much for a simple review, but this music begs for these questions, b/c it’s unhinged from the sound of prepackaged products. Its beauty is obvious from the first tone, and I can’t help but think how much American (popular) music has gone cold when compared to the fresh tonality Taken by Trees conveys. Its cold in the sense that today’s most purchased music sounds like non-creative pieces of forgetful muck.

Taken by Trees offers much more then the warmth of a spinning record, or the cold emptiness of a download. This wondrous album will make you appreciate the world. I couldn’t listen without thinking of the major issues this country faces with the East, and the inevitable (second) troop increase for the fight in Afghanistan. I would be dishonest if I simply stated how amazing I find this record without mentioning the issues, and the scary as hell situation we find ourselves in, yet again. I believe that music can heal wounds, and bring forth the humanity in all of us – I realize my belief is a quixotic one.

Special Note:

President Obama I voted for you. I believe in the words you say, but I disagree with you on all fronts when it comes to the “War on Terror,” and the troop increase for Afghanistan. Let us not forget the past in order to react in the future. We have seen this story before, especially the one where the United States inflates an enemy to promote a war. I call on the history of LBJ, Nixon, and more recently George W. Bush. All three men went to wars that were not of necessity, but of choice, and bad choices they turned out to be. America cannot be the ruler of all lands, and Democracy cannot be the solution to all the world’s issues. The vast diversity, both secular and religious, can never be blanketed by the policies of the most powerful; the world’s people will never let this happen. Killing millions away from home to make up for thousands lost at home doesn’t seem to be a logical explanation for war. We are America, and that’s a pretty cool thing, but it’s not the only thing.

Let’s get the hell out of these Wars!

- Ryan Boos Oct 27, 2009

Gust of wind # 10

Califone, All My Friends Are Funeral Singers

This Gust of Wind goes round and round, painting pictures in the fog.  The dead leaves swirl through the night, casting silhouettes above railroads. Inevitably, the street light will flicker in the dead ends of inner-city neighborhoods.

My appreciation for Califone runs deep. I think they stay true to their creative intent and never veer off course for the temporary satisfactions of conformity. There music sets its own standard, its own place, in the middle of this packed house of trends. This record continues their profound evolution as a serious band, with serious staying power. All My Friends Are Funeral Singers is a raw look into the deep edges of Califone.

On this latest record, Califone expresses a big sense of grit that surrounds the gorgeous blues of their previous releases. The track “1928” is a great tune to carry you through walks on down the road – your mind watching the leaves swirl, as the passers by chat on their cell phones. It has this mysterious ability to compel reflection; it’s the sliding of the guitar and the rustic vocal tone, mixed with a glitch mash up of real and electronic instrumentation.

Another favorite moment on this record is the song “Ape-like.” From the beginning it comes off as a barn burner, essentially jarring your attention back to the front. The rest of this record can help you get lost for awhile, and “Ape-like” brings you back.

Califone is becoming one of those groups that sits above the rest of the pack, which is to say they’re one of a handful of bands that will be here for years to come. All My Friends Are Funeral Singers is indeed a true piece of art-work. It’s sound is made from real artists with a real appreciation for their craft.

Ryan Boos – October 12, 2009

In & Out of Control, the new album from the Raveonettes, is out today. A follow up to the Danish rockers Lust Lust Lust, In & Out of Control dares to mix mid-sixties pop rock with the cold darkness of modern culture. Pushing in and out of topics such as drugs, rape, violence and love… though do not let that scare you. The Raves have skillfully crafted an album that takes you on a journey through happiness and misery, psychedelics and bubblegum, and will have you singing about suicide with a smile.

Gust of Wind # 8

Air, Moon Safari

Astralwerks

http://en.aircheology.com/

This Gust of Wind gives meaning to the word Classic, establishing its place as one of the most important albums to hit the shelves in a long time.

Since Air will be releasing their new album Love 2, on October 6th, I thought this would be a good time to rehash Moon Safari, and reflect on its amazing feeling. Moon Safari is by far the best album released by the profound French duo. For those who missed this record, I strongly recommend purchasing it; they recently reissued it with quality extras.

From the beginning the music buckles you in for a hazy trip, flowing in the mystical tones, and wilderness of sound that makes Moon Safari such a classic. The instruments speak to the mind, the rhythm fluid and consistent, while the keys are able to ride just above in a liberating way. Throughout this record the science fiction noises of the future interject over the bands thorough instrumentation’s – essentially, the backdrop of time and the places we see ourselves in, are running parallel with Moon Safar, as it takes us through the tides, and the mystique of the other side.

Air is out there, no question, and they connect to a dimension that requires a great focus. But not only is this record a path toward an influx of futuristic revelation, or a focus for the reality of nature, or one’s self. It has the tools to provide some moments that are simply fun, without losing the unique destination of the journey, or the fatigue of too much thought. Let go, and let Air design new images in your mind, new ideas for your own creativity, new energy for new ambitions, and a place to escape when the material world gets too crowded.

This is one of the best albums ever recorded, and easily one of my top five of all time. It’s a bit hard to believe two people  thought of something this wonderful, but in the reality of technologies today only a human can translate emotion to others, as if we are all connected by an invisible rope.

All day today there is an official Air, Love 2 world premiere listening party – World Premiere Listening Party: Listen to “LOVE 2″ Online Now! (starts at 12.00 CET on monday 28th, for 24 hours)

- Ryan Boos, September 28, 2009

Gust of Wind # 6

Night Control, Death Control

http://www.killshaman.com/

This gust of wind brings something different to the air.

Christopher Curtis Smith is Night Control – a one man project that uses anything in its sites to bring a fresh new sound to the table, one that gives the (middle) finger to musical traditions.

This record  has a  liberating quality to it, similar to the Velvet Undergrounds early recordings. Throughout this (19 track) lo-fi adventure, the listener is treated with off-tempo arrangements, loud distortions, random yelling, and excessive noise, which all comes out of left field. But that’s the beauty of this record; it’s almost anarchistic, if you will. His vocals are near impossible to understand, they come from every part of the song, and the instrumentation follow suit. It’s bold, refreshing, and manages to express imperfection as a virtue we have all forgotten.

There are some familiar groves and guitar riffs in this collection, some that sound right out of a Led Zeppelin play book. The opening track “Good Looks” is great way to start this record; it has very groovy bass drum that kicks right in. Going into the second track, “Know the Peasant” gives us a rock appeal, similar to the previous musical reference, but ultimately ends abruptly, giving it an unfinished quality, which is a consistent premise behind this (mysterious) Artist.

Night Control might not be on its way to stardom with Death Control, but it’s safe to say he doesn’t care. Death Control is a rebellious effort that comes with a jumbled bag of goodies – imperfection has never sounded so beautiful.

- Ryan Boos, September 4, 2009

Gust of Wind # 4

Papercuts, You Can Have What You Want

Gnomosong

This gust of wind comes in the night, and gently warms the soul, leaving behind the remnants of a necessary evolution- one that can find all of us deconstructing the past, so we can grow in the future .

“We are here then we’re gone, it’s our work that marches on” Jason Quever sings on the first single “Future Primitive” of his most recent record ” You can have what you want.” The title of this new ten tracks,  reveals the nature of the human spirits journey for unconditional life. Much of this stemming from  our immortal realities. This record, the third from the band Papercuts, is no less a personal triumph then the previous two records, under the Papercuts mantra of moody lines, and drifting rhythmic melodies, that encourage us all to explorer tell the jubilant end.

Papercuts  is Jason Quever’s band, but the impressive talent surrounding him on this latest project should not go unnoticed.  Helping this band’s direction is co-founder of Gnomonsong records Andy Cabic, and leader of Vetiver, the highly acclaimed San Francisco neo-folk band. Gnomosong was founded by Cabic and Devendra Banhart, who in the last four years has risen to the helm of this neo-folk revival.  Also, helping with arrangements and playing on the album, is Alex Scally, who is the brainchild, if you will, behind the band Beach House, they in many respects have risen to new heights with last years acclaimed devotion record, which was on many top fifty lists – you should check it out!

My initial response to this latest effort by Papercuts was not what I had hoped it would be. I first began listening to them in 2007 and fell head over heals for Can’t Go Back, it was full of textures old, and new – it made days bright and thoughtful.  I was hoping for the second coming of that sound, but instead, we are greeted with a darker feel on You Can Have What You Want. After listening to this record six times, I find it to be similar to a puzzle piece, fitting perfectly with the complete set.

This music is similar to a long journey. Its not a break from the past work, but a continuation of the mindful search-party of life.  This particular time, this particular artists, is finding a somber moment in his own movement. I actually like this album, and its funny how the day in which I have listened closely, the weather outside matches the mood of the record. Its raining, but the flowers are very close by, and people have begun maintaining there plots  – we have as well. I hear this record as just that, a plot that has been tended, but is being rained on. The sound of the record is muddy in parts, there is a sense of deliberate intention to sound grainy. The certainly accomplished that, and then some. During one of the tracks I thought my speakers were blown. The basic setup for the band is the standard guitars, bass, drums, some organ, various keyboards, all filtered with endless effects of reverb, and slight distortion. The vocal of Ouever is as beautiful as ever, so much, that unless you knew the band, you would think he was a women – I am powerless against female singers. If you had to label the singing style, you could say serious, and whiny at times, but not too much, enough to make us think about life, and how much life we actually have deep down.

The influences are no doubt from the sixties and seventies rock. The mixture of folk and rock n roll make you think its an old record. I would say there is some nineties grunge influence on top of that. Papercuts are out of the Bay area, and recently that has fostered many bands with this similar sound – the psychedelic organ never hurts.

Jason Quever is an intellectual, who thinks maybe too much – we should all do this more often.

- Ryan Boos,  August 24th, 2009

Gust of Wind # 5

The Fruit Bats, The Ruminant Band

Sub Pop Records

http://www.subpop.com/artists/fruit_bats

This Gust of Wind is profoundly refreshing, managing to establish itself in greatness, while paying deference to the similar winds before its time.

The Fruit Bats is Eric Johnson’s band, his baby, his gold ticket, similar to The Shins being a James Mercer Band, or Vetiver being Andy Cabic’s vision.  Johnson has taken The Fruit Bats  to new heights with this latest record – similarly, the latest efforts by both Mercer, and Cabic, topped expectations as well – its no coincidence that Johnson’s work with all three bands has payed off on his latest release with The Fruit Bats.

From the beginning of  The Ruminant Band , The Fruit Bats establish themselves as music makers to be taken seriously. I like all of Eric Johnson’s previous efforts, but I love this album, it has a greatness to it, and timeless sounds that we all can admire, one that pays homage to amazing talents that left us early in another time – Gram Parsons comes to mind. Its as if Eric Johnson ran into Gram out at Joshua Tree, and sold his soul to play this sound. This record is that good, and it will be next year, and the year after. I am completely enamored by the music on this release, and Johnson’s ability to soar above the music with beautiful belting pipes, makes me wanna jump for joy, and it has, and it will continue to do so, every time I hit play.

Making Bold statements with music  has always been something I do, when I hear a sound that’s perfect for the moments I know its time to go bold, and The Fruit Bats latest has snuck into my “Top Ten, in the last Ten list.” The Ruminant band album is a summer play, but will carry on well into the Fall. Its a last breathe for the sunshine weekends, flowered filled pastures, and delicious sips of good times, but as that folds, and we proceed toward color change, cool months, and coffee on the porch, I will still be hitting play on this record, a vote to cast anytime, and anywhere, with anyone – its damn near perfection.

“Feathered Bed” is amazing, and when Johnson Belts ” Baby open wide, you got the light in you, can’t gimme too much love” its apparent,  like many of us,  he might depend on a lady to get him through to the other side, to get us through the night, to be there. I hear ya man! There are so many great moments on this album, “Being On Our Own” might be the track  for me. It has this amazing feel to it, very happy song, the one you will repeat several times. They are simply just jamming and the wind is taking us all for a ride  we will never forget, as he sings ” There’s a light at the end of the line, where everything is defined,” you realize were taking this ride together, all of us heading to the same place, and “were not alone in being on our own”  as Johnson sings. We just have to go through some crazy shit to get there.

In the end, Eric Johnson has grown up, and grown his hair, letting loose, and soaking up some West Coast sun, and influence on this latest effort. The sound is nothing like their old albums. It’s as if I have never heard The Fruit Bats before, and this is a first record. They have risen to new heights, I can’t imagine where they will go from here. If they never released another album, this record would suffice for the rest of my days. It beauty, its fresh fruit, its by far the album of the summer, and might just be the album of the year.

- Ryan Boos, August 24th, 2009

Gust of Wind # 3

Sin Fang Bous, Clangour

Morr Music

This gust of wind stays busy establishing a coupled sound of gadgetry, strings, and broken tonality, which moves freely through  familiar instrumentations of pop.

The ability of this album to change with a flick of a switch is apparent with the first listen. It feels like a science fiction movie is playing along side a band, bridging the gap between mediums. The busy feeling of this album works, but can also lose the listener, b/c it’s entirely full of sounds, both quirky, and sublime – you have to catch yourself from drifting off into space.

Sin Fang Bous is not waiting around for trends, or for the rest of us to figure out where the world is heading, it’s waiting for us to catch up, and jump on. The track “Sunken Ship” is a great moment on this beautiful record. It has amazing cadence, vocal depth, and really moves the listener throughout the tune – sounds sort of creep up in places where you might not expect, essentially being consistent throughout this ambitious affair.

Clangour gives an epic story impression, something that trilogies are made of. It’s cohesive and fun, but deeper then just an everyday listen. This record could very easily be considered before its time. I picture new technology, and kids hovering on skateboards, while they remember their parent’s stories about the days when grass was still green, and close enough to touch and feel – a bitter sweet memory, if you will.

This album doesn’t leave traditional music at the door; rather it gives it an upgrade, while maintaining the abilities and talents of great musicianship. It would seem the human has been kidnapped to sing and play, while the robots back him perfectly, waiting to be lost in something organic.

Did I mention its one guy on this record? Sin Fang Bous is Sindrie Mar Sigfusson from the band Seabear, out of Iceland. Get this album soon; it’s an amazing work of art, and a complete package of emotion.

- Ryan Boos, August 21st, 2009

Gust of Wind # 2

Cotton Jones – Paranoid Cocoon

Suicide Squeeze 2009

This gust of wind, ebbs & flows with a distinct soul, one that is weathered from the train, its many stops through out small towns, and back through the whiskey bars of our brightest cities.

Cotton Jones – Paranoid Cocoon is an album that feels connected to the roots of America. The tradition of its sounds, and loose feeling of texture, evokes images of a couple lying on an open patch of grass, looking up at the clouds, while their dogs run to fetch a stick – it’s subtle and beautiful, with enough sweetness to combat the zest of an open rd.

Many people can share an experience of driving for miles while forgetting where you’re going, or where you’ve been. There is something about songs that enable our minds to lift above the vehicle we’re in, and fly – fly above and let our souls be free with love. Cotton Jones is that record, and has those songs. It’s a back porch soundtrack for the rocking chair, a PBR, and something special with your lady, or gent. Hopefully if you’re lucky, the moon will be rich and full, the stars bright, and the surrounding neighbors quiet. Then you fully realize the calm, and chill of an evening with complete rest with Cotton Jones playing in the background, through the haze of life and all its rough and tumble.

Digging deeper in this record, my favorite moment was the first few minutes of “Some Strange Rain.” It’s a two minute instrumental intro of lush’s field folk and dreamy-hazy pop. The music paints this picture that is simply even, meaning neutral in emotion – the rain might be poring down but we are happy to be standing in it, or shelling out a few cartwheels b/c we are free to be without stress. The overall song has this psychedelic quality from the sustainability of certain sounds. Its words sound great, but don’t over power the music; they rest right on the ridge of the song, and call out questions that “honey” can only answer.

I strongly recommend this record to anyone who enjoys coffee, swings, sitting on a porch, animals, the beach, rd trips, fresh air, the light shining through the trees, vintage culture, whiskey, love songs, flowers, friendship, meditation, folk, the blues, and the moments when you realize you’ll remember something forever. For fans of Vetiver, Iron and Wine, Willie Nelson, CCR, Bob Dylan, The Byrd’s, and um, well I could go on, but you get my drift.

Reviewed by

Ryan Boos, August 10th, 2009

Gust of Wind # 1

Bibio’s Ambivalence Ave

Warp Records 2009

This gust of wind tracks you down with a furry; it takes you on a ride of revelation, joy, and a little funk to get you through the night.

Bibio’s Ambivalence Ave from the beginning makes you feel as if you’re running through the wild, but still plugged in. Maybe in this case, your experience is a simulated one, and you’re simply walking in place. Regardless, it’s a good feeling, and one that connects you to the musician.

The album manages to bring correlations between the funky night club vibe of the seventies, especially with “Jealous of Roses,” to the spiritual feeling of running naked in a Holy Garden. Now, I have not yet ran naked to this album but in the right climate, the right neighborhood, I just might, but lets not get ahead of ourselves, the listener can sit comfortably in his/her room, and enjoy it just as easy, naked or not.

Ambivalence Ave is an outdoor party of free flowing, experimentation, with ghosts lurking around. Bibio uses sampled sounds of running water, kids playing, and at one point what sounds like the old laser tag game. The biggest attraction of this album is its diversity of sound, and its ability not to get stuck in one spot. Bibio goes from a 70’s music influence to older sounding hip-hop beats very quickly, and then into this quirky acid sounding electronic music. The overall setup is very heady, maintaining a coherent pace, but changing enough to make you think you had the player on shuffle – wait, did I?

If pressed to compare, I hear Shuggie Otis, Simon and Garfunkle, Boards of Canada, Akufen, and Marvin Gaye, just to name a few. But this is a Bibio album, and he manages to connect the dots in time, giving the sound something nostalgic of his own.

At the end of this record, you’re compelled to start over. This can go on for days, and it did for me. Its not often you can hear a person unfold on a record, or open up so freely. Bibio could have four side projects out of this one album. Let’s hope he sticks with the sound on Ambivalence Avenue, it’s as fresh as starting your own personal garden.

Reviewed By

Ryan Boos, August 7th, 2009