I suppose this is a video of the day of sorts. Heart Made of Sound by The Softlightes.
Saturday, May 26, 2007
I Feel Too Restless To Unwind
Alright folks, I've been drawing blanks as to what band to discuss today so I'm just going to go back to bed. Maybe a random video will tide you guys over.
Song of the day
Yet another radiant day here means another relatively peppy song, this time a track by The Anniversary (now defunct) entitled Crooked Crown.
Friday, May 25, 2007
Song of the day archive
For those even remotely interested in the bands discussed on this site, I have added a list which will keep track of the last 5 songs of the day in case you missed the epic unveiling of I Am Not A Camera. It should also help those who enjoyed the song played that day but couldn't figure out what it was at the time. The list is situated on the left-hand side beneath the music player. Go wild.
New York, New York
I can't stand New York but I sure love this song. New York, New York by Ryan Adams.
My Achy Breaky Heart...well not quite
Anyone who hasn't been hiding under a massive rock for the last decade has been able to discern a strange occurrence in the music industry. For some odd reason, everyone (not living in the south or midwest or wherever it is country is most prevalent) hates country music. Now I'll be the first to concede that mainstream cookie-cutter country music is essentially vapid and devoid of substance. Then again, nearly all pop (and I use this term to designate prominence in the mass media and not as a tool to categorize songs sonically) music shares the very same drawbacks. So when I get ragged on for enjoying a fair deal of alt-country, I never quite know how to react. Is it country? Sure I guess. But the soothing down-home twang specific to country artists paired with an indie sensibility constitutes the appeal; the result is strikingly charming, endearing, country-tinged music. These aren't songs about Chevy Trail Blazers or hunting skunks on the bayou. The lyrics are as poignant and thoughtful as in any other respectable genre of music. Besides, you'd be hard-pressed finding better tunes to ride along with the windows down to. So go forth and organize a road trip. Purchase Ryan Adams, Wilco and My Morning Jacket albums. Now get your alt-country on. Tedious top 40-manufactured artists will still be there when you get back. I promise.
Goodnight and Go
Here's a pretty neat live version of Just For Now by Imogen Heap. I'm going to give sleeping a shot now.
Always Love
Here is what I believe to be the centerpiece of Nada Surf's The Weight Is A Gift, "Always Love".
What Is Your Secret?
Alright folks, it's past midnight and I find myself with absolutely nothing to do barring the prospect of yet another restless night. Consequently, I've decided to make use of my spare time/inability to adhere to normal sleeping habits to lionize one of the most underrated indie bands in recent memory: Nada Surf. These eternal underdogs never quite receive the credit they deserve. Other indie bands, chiefly Death Cab for Cutie and Bright Eyes, have made the jump to mainstream visibility while Nada Surf is inexplicably left behind. Well that isn't going to be the case here at I Am Not A Camera. My espousal for this band shall be proclaimed on the rooftops if need be. But back to the matter at hand. If one were to dissect this entire situation (which I have valiantly attempted to do), it becomes difficult to see why this New York trio isn't selling twice as many albums as they are now. Their songs are crisp, catchy, and concise. Isn't that what defines a pop song structurally? It must have just boiled down to the luck of the draw.
While it seems as though the Brooklyn boys have finally attained their sonic niche, their popularity has only decreased since their debut LP, released more than a decade ago. The band's first two full-length efforts, High/Low and The Proximity Effect, were raw and passionate documentations of who these 3 boys were at the time. Said albums also showed glimpses of just how infectious Nada Surf's tracks could be. However, it was clear that the group had yet to hit its stride. Then came 2003's Let Go, an album that found Nada Surf finally forging itself an identity. The release was critically acclaimed (in addition to having a pretty neat CD cover) and it seemed as though Nada Surf had finally entered the winners' circle. At long last, they could sit at the adult's table. Sadly enough, the band could not maintain its high standing in the genre in the wake of more accessible radio-friendly groups cashing in on the blossoming indie craze. Franz Ferdinand and The Killers meant business (pun fully intended). And while these bands were churning out strokes of genius (and by genius I mean horse dung) such as "Somebody told me that you had a boyfriend who looked like a girlfiend" or "If I move this could die, if eyes move this could die. I want you...to take me out!", Nada Surf were toiling away in the studio with producer/Death Cab member Chris Walla working on The Weight is A Gift. Their steadfast dedication to the album shines through the second "Concrete Bed" comes pouring out of the disc. And the band continue to deliver track after track of catchy thoughtful rock. Nada Surf manages to do so in quite versatile a fashion as well, balancing jauntier numbers with pensive, introspective tracks. Simply put, Nada Surf know how to write a good tune. Don't believe me? Well there isn't much I can do about that but call you a douchebag. So remedy your douchebaggery outbreak at once and give Nada Surf a spin.
While it seems as though the Brooklyn boys have finally attained their sonic niche, their popularity has only decreased since their debut LP, released more than a decade ago. The band's first two full-length efforts, High/Low and The Proximity Effect, were raw and passionate documentations of who these 3 boys were at the time. Said albums also showed glimpses of just how infectious Nada Surf's tracks could be. However, it was clear that the group had yet to hit its stride. Then came 2003's Let Go, an album that found Nada Surf finally forging itself an identity. The release was critically acclaimed (in addition to having a pretty neat CD cover) and it seemed as though Nada Surf had finally entered the winners' circle. At long last, they could sit at the adult's table. Sadly enough, the band could not maintain its high standing in the genre in the wake of more accessible radio-friendly groups cashing in on the blossoming indie craze. Franz Ferdinand and The Killers meant business (pun fully intended). And while these bands were churning out strokes of genius (and by genius I mean horse dung) such as "Somebody told me that you had a boyfriend who looked like a girlfiend" or "If I move this could die, if eyes move this could die. I want you...to take me out!", Nada Surf were toiling away in the studio with producer/Death Cab member Chris Walla working on The Weight is A Gift. Their steadfast dedication to the album shines through the second "Concrete Bed" comes pouring out of the disc. And the band continue to deliver track after track of catchy thoughtful rock. Nada Surf manages to do so in quite versatile a fashion as well, balancing jauntier numbers with pensive, introspective tracks. Simply put, Nada Surf know how to write a good tune. Don't believe me? Well there isn't much I can do about that but call you a douchebag. So remedy your douchebaggery outbreak at once and give Nada Surf a spin.
Thursday, May 24, 2007
My Work Here Is Through
Junkyard by Page France with an alternate ending that completely caught me by surprise when I was searching for videos.
Come And Carry Us Away
It has been about 2 years now since I was first acquainted with Page France. I was gleefully scrolling down the artists on Pure Volume that fateful day, presumably (and unfortunately) seeking out more angst-ridden popcore. Little did I know that day that this seemingly innocuous folk-pop band would steer my musical compass in a drastically different direction. What I discovered was a Maryland quintet who have constructed the most gorgeous tracks to grace my speakers in recent memory. The sound of the band is anchored in lead singer Micheal Nau's high-pitched-but-not-nasal croon which is nicely supported by childhood friend Whitney Mcgraw's heart-wrenchingly beautiful, somewhat childish voice. The instrumentation is relatively sparse at times, relying exclusively on the acoustic guitar, and rich at others, when the tambourines, drums, and keyboards enter the fray. Never do the music or vocals overpower either party. This harmony between the two driving forces of song strikes a balance so soothing it gives Page France's tracks an airy, ethereal dimension I can't recall any other artist achieving since My Morning Jacket. The notes sit on clouds as listeners drift away to a realm filled with cherubins, circus elephants, kings, and queens. Nau flexes his lyrical muscles and weaves elaborate yet innocent fairy tales designed to convey general truths, or maybe rather truisms.
On Page France's debut Hello, Dear Wind released in 2005, which dare I say it is quite simply a masterpiece, the song titles are just about as concise as any listener will encounter (with the longest moniker being "Trampoline"). The reason I bring up this seemingly trivial fact is the notion of just how powerful those single words the band has chosen to designate their tracks can be. And this can also be applied to the band's songs as well. Like a skilled journalist, Page France manages to pack an incredible amount of thought into their work while remaining terse. Not often have I come across poignant music that manages to avoid being dreary and over-wrought (cough*post-rock*cough) which makes Page France a veritable diamond in the rough. There haven't been many bands who have come together to craft such delightful, dreamy gems and with the release of their new album entitled Page France and the Family Telephone, Page France may find itself maintaining its reign over my speakers for months to come. Please do yourselves a favor and pick up everything these guys (and gal) have ever released. You won't be sorry.
On Page France's debut Hello, Dear Wind released in 2005, which dare I say it is quite simply a masterpiece, the song titles are just about as concise as any listener will encounter (with the longest moniker being "Trampoline"). The reason I bring up this seemingly trivial fact is the notion of just how powerful those single words the band has chosen to designate their tracks can be. And this can also be applied to the band's songs as well. Like a skilled journalist, Page France manages to pack an incredible amount of thought into their work while remaining terse. Not often have I come across poignant music that manages to avoid being dreary and over-wrought (cough*post-rock*cough) which makes Page France a veritable diamond in the rough. There haven't been many bands who have come together to craft such delightful, dreamy gems and with the release of their new album entitled Page France and the Family Telephone, Page France may find itself maintaining its reign over my speakers for months to come. Please do yourselves a favor and pick up everything these guys (and gal) have ever released. You won't be sorry.
Song of the day
Yet another beautiful day in Montreal and this means another sunny pop song. Today's little slice of sonic bliss is Hello June by Kite Flying Society, an indie band out of San Diego not be confounded with the screamo band by the same name. Enjoy.
Wednesday, May 23, 2007
Field Music
I'll try to include an official or live video with the features I write every day. So to continue the long upheld tradition (one day) of video accompaniment, here is Field Music's In Context.
Sit Tight
While critics sing the praises of recent releases from indie powerhouses such as Bloc Party, Arcade Fire, Arctic Monkeys, and Modest Mouse, these supposed pundits have overlooked perhaps the most refreshing band to emerge from the genre this year. Field Music, a trio from Sunderland in the UK, have put out an absolutely charming album in the form of Tones of Town released in February of 2007. Without sacrificing originality, the band has managed to create songs that can carry a common theme throughout the entire record. And the band does so with a veritable cornucopia of instruments, making use of strings, the piano, synths, and the obligatory bass, guitar, and drum parts. What makes Field Music's inclusion of this plethora of tools compelling is that nothing stands out on its own. None of these sounds come off as a gimmick to intentionally stray from the pack; they intertwine and come together to take the shape of cohesive, endearing pop songs.
It's always a slightly arduous task to describe a band to individuals unfamiliar with the music but I'll do my best to make it as visually stimulating a simile as possible. Essentially, Field Music sounds like the Beach Boys filtered through post-punk to then be mixed with a sensible dash of britpop into an endless coffee mug of sonic goodness. Was that needlessly verbose enough for you? Anyway, let's take a break from my glorious wordplay and focus on the music itself.
The background vocals on Tones of Town inject a little whimsy (the Beach Boys facet) into every track while the lead vocals are clear, crisp, and deliver the lyrics with great aplomb. While the lyrics aren't anything to fawn over, they cut to the chase and provide listeners with more than decent storytelling. However, it remains clear that the words aren't tantamount to the sonic aspect of the band. Field Music said in a recent interview that they were of the opinion that anything can constitute "pop" music. It's simply a matter of writing stellar catchy songs. And Field Music don't just talk the talk. They deliver the goods by means of their latest which is chock full of intricate, somewhat unconventional pop songs that should all find a way to bypass the wall hipsters have put up in an effort to be cantankerous pricks. If Field Music can serve up more gems in the vein of Tones of Town, we may observe a recalibration of the pop genre in the near future and who knows, they may even convert a few of the more stubborn listeners obsessed with a band's obscurity rather than their work along the way. For the time being, I'm perfectly content playing Tones of Town and patiently waiting for the world to take notice.
It's always a slightly arduous task to describe a band to individuals unfamiliar with the music but I'll do my best to make it as visually stimulating a simile as possible. Essentially, Field Music sounds like the Beach Boys filtered through post-punk to then be mixed with a sensible dash of britpop into an endless coffee mug of sonic goodness. Was that needlessly verbose enough for you? Anyway, let's take a break from my glorious wordplay and focus on the music itself.
The background vocals on Tones of Town inject a little whimsy (the Beach Boys facet) into every track while the lead vocals are clear, crisp, and deliver the lyrics with great aplomb. While the lyrics aren't anything to fawn over, they cut to the chase and provide listeners with more than decent storytelling. However, it remains clear that the words aren't tantamount to the sonic aspect of the band. Field Music said in a recent interview that they were of the opinion that anything can constitute "pop" music. It's simply a matter of writing stellar catchy songs. And Field Music don't just talk the talk. They deliver the goods by means of their latest which is chock full of intricate, somewhat unconventional pop songs that should all find a way to bypass the wall hipsters have put up in an effort to be cantankerous pricks. If Field Music can serve up more gems in the vein of Tones of Town, we may observe a recalibration of the pop genre in the near future and who knows, they may even convert a few of the more stubborn listeners obsessed with a band's obscurity rather than their work along the way. For the time being, I'm perfectly content playing Tones of Town and patiently waiting for the world to take notice.
Song of the day
Today's song of the day is The Way The Lazy Do by Dr. Dog. Be sure to catch their late night television appearance tonight on David Letterman. Their new album We All Belong is out now.
Tuesday, May 22, 2007
I'm not willing to invest any more time in this venture.
Ok I've come as close as I can get to having a player on my page. Unfortunately, it doesn't quite fit but you get the idea. It's a warm sunny day out so today's belated daily song is Easy Girl by Coconut Records. Hollywood actor Jason Schwartzman fronts this clever indie-pop band. Go buy their album Nighttiming now.
Song of the day
I'm working on finding a way to have some sort of song of the day feature which would play a different song on my page every day. It may be enough of an incentive to come visit every once and a while.
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