-Franz Ferdinand-- Tonight-

Franz Ferdinand.

They’ve got a new single out: “Ulysses”. The song has a funky rhythm, it’s energetic and fun. I dig the lyrics: pretty simple and pretty sexy.

“Ulysses” sounds very much like a Franz Ferdinand song (well duh), but what I am trying to say is that it's nothing new (which is fine). Their third album Tonight is set to release January 19th, expect a fairly predictable sequel to the band’s prior albums.

Franz Ferdinand- Ulysses

-Wild Beasts-- Limbo, Panto-

Wild Beasts.

Umm, you can’t really go wrong with a band name like that. What’s even better is that band actually as the bravado to back it up. Oh yeah and the music is pretty good too.

Their musical style leans toward Art-rock; listening to Limbo, Panto is like going to The Theater: it’s over-the-top, it’s flamboyant, it’s very entertaining.

Wild Beasts also have some kickass vocals. It’s hard to miss lead singer Hayden Thorpe’s flashy falsetto, and bassist Tom Fleming’s sexy tenor (see "The Devil’s Crayon") is an added bonus.

Wild Beasts- The Devil's Crayon

-Jangle Jam-- I am Back-

Hi all,

Well I am back from my month-long tropical vacation. I’ve got to say that it was pretty hard to leave the sun, beaches, and amazing weather. But it had to be done, so I’ve returned and I also have some good news and some bad news:

Bad news: MN is not St. Thomas. Dammit MN cold.

Good news: I’ll be updating Jangle Jam again (hopeful with some semblance of frequency).

Posts will be shorter, more random, there will be recommendations of worthwhile shows around town, and possibly some reviews of shows that you should have attended.

Happy Holidays!

-Longwave-- Secrets Are Sinister-

Longwave plans to release the their 4th full-length album on November 11th on Original Signal.

Secrets Are Sinister is possibly Longwave's most varied album to date. It cracks out of the basic indie-pop mold with incessant and powerful guitar; at times the songs sound like they could very well stand up on their own without vocals (it doesn't help that Steve Schiltz sometimes sounds like he's gargling).

Many of the songs from Secrets Are Sinister are in that sort of Coldplay, U2, anthem-rock vein, and they would sound great bouncing off the walls of an arena. A lot of people will really dig this super accessible musical style, and that's precisely why probably an equal number of people (read: hipster music snobs) will write Longwave off as trivial pop faster than they dismissed the last Death Cab album.

Although perhaps working with Midas touch producers Dave Fridmann (The Flaming Lips, MGMT) and Peter Katis (The National, Interpol) Longwave will offer a little something for everyone on Secrets Are Sinister.

Longwave- No Direction

-Secret Machies-- Secret Machines

Secret Machines: a band has been lauded for their ability to piece together elements of psychedelic, kraut, and prog rock to produce a sound that’s all their own. With a revised line-up (minus one Benjamin Curtis, plus one Phil Karnats) and a near 2 year lapse since the band’s last record, fans have been a bit wary about the future sound and direction of Secret Machines. All uncertainties will be put to rest on October 14th when the Secret Machines release their third and self-titled record.

The album’s opening track kicks right from the start and marches on with a solid drum beat. Brandon Curtis gives a genuinely interesting sing/speak performance; the clarity of his vocals help drive the lyrics over the other instruments.

Vocals, drums, then guitar: an uncommon hierarchy of sounds for a rock band, but one that is decidedly Secret Machines. Of course there are moments where the guitar is the showpiece, particularly towards the end of "Atomic Heels" when the guitar swells into a heady collage of distorted chords.

Subtly the pace slows on Secret Machines and "Now You're Gone" opens with a fragile timbre and vocal effects that are completely mesmerizing. Steadied by seamless percussion the song glides into a dizzied oscillation of vox and guitar; it’s a near criminal listen.

Secret Machines retain their big beats, swooshing basslines, and resolute vocals; but the also charge on and inject noise, layer guitars, and mount thunderous soundscapes. A winning combination that results in a record that couldn’t be more aptly named: Secret Machines.

Secret Machines- Atomic Heels

-School of Seven Bells-- Alpinisms-

And speaking of Secret Machines (see above)...the band's former songwriter and lead guitarist Benjamin Curtis teamed with sisters Claudia and Alejandra Deheza to form the ambient-experimental trio School of Seven Bells. The band is set to release their first album together: Alpinisms on October 28th (Ghostly International).

The group settled on their name in a somewhat peculiar way which you can read about here. While undoubtedly an electronic band, their music isn't of the nnttzz-nnttzz techno beat variety. Instead it has a much more calming and at times cathartic vibe.

The School of Seven Bells accomplishes stunningly dense layers of sound. Though the use of a drum machine doesn't enhance the music in any way, the songs are dripping with plenty of other aural distractions. The sister's lofty harmonies are so well-matched that it almost sounds as if it's one vocal on loop. The vocals are nothing short of beautiful, and when mixed with bits of dirty guitar and dark snyth, it makes for a grand combination of sound that is both divine and sinister.

School of Seven Bells- Connjur

-The Panics-- Cruel Guards-

Cruel Guards the latest record from the five-piece Aussie band The Panics. Overseas, the album has received many accolades and propelled the band into popular frenzy. Almost a year after its Australian debut, the album comes stateside October 7th.

Despite solid efforts on thier previous albums, The Panics remained largely under-the-radar. Cruel Guards shows a band with a sharpened métier and expanded sound; undoubtedly The Panics best work to-date.

Through his charmingly nasally vocals, Jae Laffer delivers poignant lyrics. And the instrumental interplay is most impressive. Cruel Guards is an ensemble of lush guitar partnered with plain-stated piano, and whimsical horns/strings moderated by rhythmic percussion. Never does it seem that any one piece crowds out the others.

Grabbing from a myriad of influences: everything from Motown to Gothic rock, it's a challenge to categorize the sound of Cruel Guards. It's as much a soft rock album as it is a pop record. So while cliché labels might not be able to define Cruel Guards, one thing is certain: the record is well-crafted.

Perhaps a little too well...

The album's biggest flaw is its overdone and cloying production. Tracks that should be intense, never seem to reach the fervor that's expected with such intimate and distressing topics. In the pursuit of perfection, the band loses its believability and the music becomes terribly lackluster. But even with its faults there is plenty to enjoy about Cruel Guards, and it will be interesting to see how The Panics are received in the US.

The Panics- Get Us Home