Gust of Wind #15

White Fence, Is Growing Faith

Woodsist

This Gust of Wind comes through the park with sunglasses, fuzzed out noise, and a coolness undeniably perked from Rock-n-Roll.

In 2010 White Fence released their first record. The project is created by Tim Presley who is known for his work with the band Darker My Love. White Fence has a sound that throws back to the 60′s, evoking rolls down the hill, acid drops, and a girl with long curly hair that you keep trying to find, but of course the drugs have tricked you. You’re all alone on a hill. Its drenched with the noise and anarchist style of The Velvet Underground but doesn’t leave behind the hints of country and folk.

Is Growing Faith follows up the self titled debut with the same expression. You can’t help but smile listening to Presley’s vision spin out on the turntable. Its wonderful, recalling the liberation only found in recording music. He’s having fun , so much so that in some of the songs you’ll hear the pitch change and sound twisted. You can picture the band just saying WTF, lets just change it all for a few seconds. Or in this case the mastermind Presley, which makes the whole damn thing that much more impressive. This is the shit that plays in your head. White Fence brings us to the party with our constitutions intact, then provides the avenue in which to let go. We float through the atmosphere, naked with only a beach ball, flip flops, and a funny sense of life. Just let go and let you mind wonder, White Fence will get us there, together, but all by ourselves. You can do whatever the hell you want to do.

Notable Tracks

“Tumble, Lies & Honesty”

“Get That Heart”

“Art Investor Collector”

“Stranger Things Have Happened (To You)”

FYI: If you purchase Is Growing Faith on vinyl, there is no code for Mp3 downloads.

Gust of Wind # 14

Signer, Next We Bring the Fire

CarPark

This Gust of Wind rests in spaces out of this world.

The atmospherics of Signer are pleasant from the start. The record plays with an ease of beauty. The soft hushed vocals are co-mingling with a vast amount of layering. Beats come out of left field, and the feeling gets me high. Ryan McFun from one of my favorite bands, The Ruby Suns, contributes on this record. His vocals are distinct, and go as high as a rocket ship. All the songs are written and performed by Bevan Smith.

Next We Bring the Fire certainly has moments more accessible than others. The song “+ kicks and kicks” is quite funky and blazing with static, while McFun’s vocal adds a laid back feel to its more groovy nature. Signer has an older sounding electronic quality to it, sort of 1990s-esque, with an acidic tone. This impression is left more notably on the tune “glass ceiling.” Its glitch foundations are coupled with a voice trying to get out from behind a dark corner. Most of the album is nothing if not riddled with tons of reverb, and the consistent emotion of searching to be lost.

There is something that reminds me of the ride home during the dawn of an after party, with all the “colorful balloons” floating in the air. As you drive out of the cold darkness, lost in some random inner city with no where to piss, remember, you can play Signer on your way home and all will be forgotten.

- Ryan Boos

Gust of Wind # 13

Atlas Sound, Logos

Kranky

This Gust of Wind wakes you when the dogs howl rides over the empty streets. You lift up suddenly from dreaming of something you vividly recall, but can’t decisively remember.

Bradford Cox has become a name in the last few years that packs several meanings. Not only is he a part of the exceptionally regarded group called Deer Hunter; he also managed to find time to invent a fresh side-project in Atlas Sound. Both have become regulars on many different lists of praise. This album is just another addition to an already impressive body of work that deserves a thorough listen – Sign me up!

Logos has many personalities throughout. From track to track, there is a plethora of emotions, which seem recorded over a time frame consisting of excessive highs and lows. It’s a connection album with Cox waiving a mirror to see his own reflections in different forms of light. In this case the light is the special guests that contribute to the record. There is a small touch of melancholy in all of this, but certainly enough joy to compound the darkness into something more than a lonely impression.

“Walkabout,” featuring Panda Bear of the group Animal Collective, is one of the brightest spots on the Album. It’s a catchy sample with harmonies leaving a memorable touch. The track “Quick Canal,” featuring Laetitia Sadier of Stereo Lab, is the part of the record where you take off in your own head. Her voice soars well over Atlas Sound’s atmospheric steadiness, and this collaboration is worth exploring in the future. Another track that really sounds amazing is called “Shelia.” Cox sings, “When we die we’ll burry ourselves, because no one wants to die alone,” and as the track fades he belts “Die alone together.” Something we all have pondered momentarily throughout our daily lives.

The original flare, and chameleon sensibility on Logos, gives it enough playing power to stick around as a nice addition to any collection.

- Ryan Boos

Gust of Wind # 12

Devendra Banhart, What Will We Be

Warner

This Gust of Wind comes to us through a haze, beaming the sunshine down on a cold atmosphere.

Devendra Banhart is one of the most inspiring Artists of the last ten years. Over time he has continued to evolve, but not entirely away from the mysterious beauty of his early low fidelity recordings. This record has moments that signal to the past, as if to say he hasn’t  forgotten his original self. He clearly hasn’t, even when enticed by the dollar bills of a major, Banhart is still Banhart. If pressed to place a bet on him, I wouldn’t pick any number but the same one since Rejoicing in the Hands. It all seems part of a bigger picture, and he’s just waiting on us to commit to ourselves, so we can commit to each other.

I dig the newer sound, and this time it seems Banhart and company are on point when compared to their previous album, Smokey Rolls Down Thunder Canyon. That collection of tunes was out there looking for the thing he found on What Will We Be. I imagine like most things in life, we have to go through certain doors to see what’s on the other side.

Although he always seems to reach for the stars, on What Will We Be the music plays as if he’s made his connection. It’s only the first stop toward much more, but he has made it to the next level as a musical powerhouse, shining its own light on the rest of us, from its own corner, somewhere off in a hazy galaxy. From this point on, it only looks brighter from here. Devendra Banhart is the invaluable piece to a younger generations place in cultural history.

A few special words evoked by the song “Walilamdzi,” off this very delightful addition to a discography growing to be one of my favorites. I dug up an old piece of photography I took on my Brothers farm in Michigan. I think it fits well. Thank you for reading.

A room is filled with gracious hands as we dine together in a community.

The Sounds from cracks of ceiling beams, makes fog in a room with no smoke. The Red wine intertwines our words. One last chime from the door, another late addition. Pull up a seat friend, we’ll be reminiscing.

- Ryan Boos

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

Gust of Wind # 9

Le Loup (The Wolf), Family

Hardly Art

www.leloupmusic.net/

This Gust of Wind rings familiar with the current escapade of musical trends, but still manages to leave a special mark that won’t be forgotten anytime soon.

I enjoy big sounds, church-choir-harmonies, along with the added down-home flavor of the banjo – they all play very well together on this album. It’s a record that leads to epic moments that catapult the ears toward the mysterious energy of nature. There are moments of straight fire, with Le Loup bringing the morning air and the energy of the sun. Then there are the building moments of swishing water on the track “Sherpa,” which is sort of similar to riding down a calm river, then you’re jolted into the realization that you’re heading for a waterfall and it’s manageable enough to ride.

Another favorite on Family is the song “Beach Town.” A hazed out tune that uses a progressive harmony that ends in the distance, as if they sing to us from a cave. The song starts out with samples of birds and voices, coming and going. The song is out of the wilderness, and we are walking toward the noise with our torches in hand. As we embark toward the sound, we come on a village of people in jubilation.  These people offer up an indigenous well being– they make crafts, build fires, and live in the trees.

Family is a special record, one worth having, and one that will play well down the road. It’s on par with any of today’s most talked about bands, but it does have its own special moments.  These moments will essentially give Le Loup a larger following; they rest well on drives in the mountains or walks in the woods. If you’re not into the profound feeling nature provides or that unhinged beaten path, this record will also suffice surrounded by the pesky wires, and dust bowels that riddle the rooms in our lives. Don’t be surprised if you find your mind running in the open pastures of the open air, with the autonomy of simply just being.

- Ryan Boos, October 5, 2009

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 # 7

Iron & Wine, Around The Well

Sub Pop Records

www.subpop.com/artists/iron_and_wine

This Gust of Wind holds us close while the leaves fall from the trees, and the summer memories fade into something more calm, something more tame, something we will miss, but inevitably have to wait for. As the clock spins and the days change into the New Year, this gust of wind will be right there, complementing the haze of autumn.

“>For those of you who are familiar with Iron and Wine, Around the Well is right on point with what you would expect from Sam Beam. Iron and Wine is known for their melancholy harmonies, and beautiful acoustic guitar playing. More recently the stripped down approach has been replaced with a full band, and musicians equal to the task of creating Beam’s wondrous sound. It’s hard not to get drawn into the pictures Iron and Wine evokes on their records, I know some who say it’s even hard to listen knowing the bitter sweet feeling these recordings can have. It’s imperative to grasp that emotion by allowing it to pass right by with the clouds up above, so you can see the brighter side of Iron and Wine.

Around the Well is a good place for new listeners to start, and equally a nice release for loyal fans, and even collectors. The beginning of the collection(disc 1) is a mix of older tunes, and the quality of recordings make it easy to distinguish between disc 2, which takes off into more diverse sounds, and even has a spark of experimental influence. That’s the beauty of Disc 2; it delves deeper into the Shepherds Dog approach. That album marked a significant shift for Sam Beam, and the extra tunes on Around the Well (Disc 2), treats listeners to more of that direction.

Iron and Wine is arguably one of the best bands in the last 10 years to come on the scene, but more  importantly the music on Around the Well, and any previous release, can be appreciated by more then just “the heads” of Indie Rock. Their music has an old timey quality to it, and as their discography has progressed into the sounds of different times, most notably Shepherds dog having a sixties and seventies rock undertone, Sam Beam reminds us that although their sound is expanding, the roots of their music will always come from the subtlety of acoustic guitars and hushed harmonies. Around the Well is a reminder of where they have come from, and were they’re going.

- Ryan Boos, September 22, 2009

Buy: Iron & Wine, Around The Well

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