Every song is a city, and every city is a song. The opening guitar-led refrain of Perth heralds the arrival of gentle rolling drums and that voice, that gently shaking falsetto that has provided catharsis for many. That catharsis, on 2007’s For Emma, Forever Ago, sounded like a barely breathing thing, so fragile in its hurt that it could only whisper through sparse instrumentation, but on this album it’s a stronger beast with more flesh to spare.

Finding strength in its new confidence, the music dips into a deeper vocal register on Minnesota, WI and Hinnom, TX (the contrast is effective and truly staggering), flirts with brass elements across the album and even dives into ‘80s-esque synth, sax solos and auto-tune (which has been used sparingly in the past, notably on 2009’s overall average Blood Bank EP) on Beth/Rest, an intoxicating oddity of a song that makes more sense in the context of Justin Vernon’s involvement in Gayngs. Barely any tracks here are as nude as those on For Emma… – the likes of Calgary are beautiful in their deep, luscious layers – with the exception of Holocene, heaped vocals dancing on a simple guitar line, an emotional rawness so painfully honest that it stings to listen to.

After mediocre at best side projects and a hit and miss EP, it was a matter of great worry whether or not Vernon could follow For Emma… with anything nearly as moving. Those concerns were unnecessary, because this album is an experience that not only equals but surpasses its predecessor, soundtracking pure and intense emotion in a way that is always redeeming, no matter how much it might hurt.

Out now on Jagjaguwar/Inertia

Unlike other Elephant 6-associated bands like Neutral Milk Hotel and of Montreal, Brooklyn’s The Ladybug Transistor has remained virtually unknown, a brief shot of a concert poster in the film High Fidelity as close to breaking mainstream consciousness as they’ve ever come. Hopefully much deserved attention will come with this, the band’s seventh album in 16 years of consistently impressive work.

While originally they played orchestral pop in a sparse, baroque style, it’s now more fleshed out and sprinkled with delightful flourishes, including a divine double oboe line on Oh Cristina. Gary Olson’s lyrics are bubbling with clever pop culture references and are always suited to the sweetness they lie against, his voice often partnered with a sweet female vocal (Light On The Narrow Gauge) for that perfect balance. Clutching Stems is more rooted in a positive major disposition than the band’s past output (the exception with the only marginally more somber Caught Don’t Walk, gorgeous string and brass arrangements abounds in a piece that starts serious before floating away). As such it’s sometimes difficult to differentiate between individual songs, but if it sounds like one long song it’s a very joyous one indeed.

In the past The Ladybug Transistor’s tunes didn’t quite have the polished finish to gain serious momentum in the world of modern, ultra-glossy indie pop. 2007’s Can’t Wait Another Day saw them cautiously test new footing, and Clutching Stems sees them find it. No new ground is broken in the grand scheme, but it’s beautiful all the same – sitting comfortably alongside luminaries like Belle & Sebastian, this is a great place to start if you’re just discovering this incredibly underrated band.

Out now on Merge

I had the distinct pleasure of interviewing US singer/songwriter Joshua Radin for the second time ahead of his show at the Enmore on Tuesday 21 June. His latest album, The Rock And The Tide, has just seen local release in Australia through Warner.

Hello, how are you?

I’m well thanks, how are you?

Not too bad thanks. Are you having time off from playing right now?

I’m actually off right now because I had my tonsils taken out. So I’m having some bed rest and vocal rest, and the next time I tour is going to be down in Australia.

So getting to the record – how did using live, rather than session, musicians work out for you?

I think it went really well. I mean, there’s a couple of songs on the record that have studio musicians but for the most part it was recorded live, and it was just so much more fun.

And the recording process?

It’s sort of whenever I have time to record or off the road, it’s never like a set thing. It’s sort of haphazard, so when I’m off the road I do some recording and writing and then I go back on the road and it’s not like a typical thing where I do a record and then I tour the world and then I go back and do another record, because the records keep coming out in different countries at different times, so I’m always trying to play catch up.

(more…)

I have NO WORDS.