Oakland, California based Subtle is ironically anything but, yet it seems to be working for them. For Hero: For Fool can be found shelved with other hip hop albums, but it’s an undoubted piece that requires patience, and diligent concentration. For Hero: For Fool is unlike many hip hop pieces, with its bizarrely innovative mix of electronica and experimental rock. Surreal in its composition and abstract in its sound, For Hero: For Fool delves into the muck of society, exposing the corruption of the governors and the ignorance of the governed.

Adam Drucker (better known as Doseone) is the marvel of Subtle, skillfully contorting his voice, making his lyrics cryptic, undecipherable, but more importantly- poetic. “A Tale of Apes I” and “A Tale of Apes II” kick start the album with their vast array and cluster of beats, partnered with Dose’s boisterous vocals, all teasingly giving us a taste of what the remainder of the piece has in store. “A Tale of Apes I” is driven more with hip hop, layered with electronic and acoustic samples. Whereas, “A Tale of Apes II” is the opposite, with its slower and more celestial pace. “Middleclass Stomp” is the dividing line between hip hop and rock, while “The Mercury Craze” is fast, thrilling, and catchy. “Bed to the Bills,” a clatter of drums and guitars, sinks slowly in with poignant synths and Dose’s nasally vocals. The album’s dynamics are constantly shifting, writhing, and bending through different shapes, forms, and sounds which are what really makes it questionable, and even unsettling.

Although their music is anything but subtle, their ability to morph through different forms of sound is about as subtle as can be. FH: FF exposes the illusions of society, but does so in its most insidious capability. Pop, rock, and electronica placed amidst battle rap? It almost sounds preposterous. Nevertheless, FH: FF is an eruption in music; even I can admit that my first listen was not the most pleasant, but with time, I found its message, and its configuration to be quite artful, regardless of its cynical image towards humankind and the system.

by Dareen

Following the distinctive course of past shoegazers, Asobi Seksu (meaning “playful sex” in Japanese) bring to us “Citrus,” a noisy, textured, and shamelessly pop driven piece. Although artists like My Blood Valentine and Slowdive essentially brought shoegaze music to its peak more than a decade ago, Asobi Seksu are able to foster the elements that made up shoegaze music, and also give birth to new sounds and techniques of their own. “Citrus” brings a variety of sounds, the albums base is evidently more of a dreamy pop; the vocals remain distinct, finding its way through the noisy walls of swirling guitars- much of which the cover art in itself depicts. Yuki Chikudate’s genial vocals (sung in both English and Japanese), matched with the layered, hazy, and washed tones of feedback give it a fruitful flavor of reminiscence to the past.

The pattern is quite simple: poppy vocals and candied hooks that overlap the springing beats and intensifying strings that work their way up until the final crash of noise- which has seemingly worked to their advantage. A quick 17 second intro (“Everything is On”) leads us to “Strawberries,” an immediately catchy song that lures us in with heavy bass and drum lines. It starts off as a luscious pop song, until the chorus hits and the walls of noise come crashing down- all while Yuki Chikudate’s voice floats above daintily and effortlessly, alongside “Goodbye” which is easily another whimsical brew of pop. Guitarist James Hanna is able to orchestrate his distinctive sound with “Red Sea,” with its undoubtedly meaty, dense, and surging guitar work. “Exotic Animal Paradise” may be the only slight exception to the album entirely. It has more of a slow and dreamy sound to it, supplemented with Yuki and Hanna’s vocals. Continuing onto its downbeat path, it finally reaches the end, with its emotionally thrashing guitar riffs, and pounding drums that end the song.

“Citrus” does not falter in replicating the shoegaze forebears of the past. It is of their most substantial work to date; they have smoothly created a bilingual album that is rich in not only melodies, but with traces of love, despair, and thrill. Asobi Seksu has formed a bond with painstakingly trudging instrumentation, and also with calm and harmonious vocals that have found its way through a labyrinth of sounds. Perhaps “Citrus” really is the most fitting name for the record, considering that each song holds not only a sweet taste to it, but an oddly satisfying sour aftertaste.

by Dareen

Pop music has generally been associated more with “mainstream sellouts,” whereas pop is really more of a dainty, and emotionally arousing take on music. Broadcast is a pop band. A unique pop band that has managed to experiment with sound, and somehow manage to make carousel melodies and broken machines work into their music. Reminiscent of Stereolab and The United States of America, Broadcast steps in, efficiently formulating their dreamy, neo-psychedelic, and indie pop label. Unlike their debut “The Noise Made By People,” “Haha Sound” fathers Broadcast’s more humble and delicate side, while still holding onto their complex, dark, and fairly experimental trademark.

Broadcast has created a panorama of vivid, dark, and deep sounds balanced with gentle and pristine melodies. From the beginning we are engaged in obscure samples of whizzing machines, layered with chic and angelic vocals that capture the essence of innocence (“Colour Me In, “Before We Begin”). Trish Keenan’s delicate voice takes us through almost a lullaby, yet with a more bittersweet taste to it. “Pendulum”- noted as one of their best songs to date- heads in a different direction with its lo-fi drums, swirling guitars, and lucrative keyboards. Magnifying onto their cinematic influences, “Valerie” was inspired by the Czech horror ‘Valerie and Her Week of Wonders;’ soft guitars mingle with it’s ghoulish and mysterious backdrop. “Lunch Hour Pops” and “Ominous Cloud” reference back to the more innocent persona of Broadcast, while “The Little Bell” and “Black Umbrellas” echo more of the poetic side that they have also mastered.

The world that Broadcast creates may not initially be very inviting, but with patience it can be found as quite rewarding. Broadcast manages to not only make pop-rock music charming, but they succeed in bringing their experimental, retro-futuristic twist to it as well. “Haha Sound” does not fail to live to its title; it’s eye widening, nonchalant, and hypnotic

by Dareen

Ultramagnetic MC’s Kool Keith reveals his alter ego- Dr. Octagon, a sleazy, menacing, and juvenile gynecologist. Often revered as an album far ahead of it’s time, Kool Keith paired with producer Dan The Automator and turntablist DJ Q-Bert to create the sound that took hip hop moving to the year 3000. Dr. Octagonecologyst rejuvenated the underground hip hop scene. Kool Keith’s unquestionably bizarre and controversial lyrics, merged with DJ Qbert’s innovative scratching and Dan The Automator’s futuristic production were what helped to establish Dr. Octagonecologyst as one of the strongest hip hop albums of the 1990′s.

Dan The Automator’s production of the album really gave him more recognition as far as the underground hip hop scene goes, his work is also one of the more defining factors of the entire record. He really strayed away from the more classic bluesy hip hop sound that he normally formulated, and managed to bring more eccentric electronic beats to the record, sort of a more eerie Deltron 3030, but with the same futuristic feel. The diversity he brings to the record is rather conspicuous, with his shrewd layers of sounds that all come together to create the perfect backdrop for Dr. Octagon’s portentous lyrics. Since his days with Ultramagnetic MC’s, Keith has been known for his off the wall wordplay and trademark off beat flow. He’s zany, pornographic, sadistic, and insane. Although his lyrics are far from comprehensible, the more you listen, the more you find yourself picking up on things. “3000″ is the album opener which also happens to be one of the better pieces of the record; “Channels and handles Automators on the panels/ turnin’ knobs you slobs suckers like Baskin Robs/carvel don’t tell your whole crew is ice cream fudge/rappers that budge makin’ moves step in grooves/and ride the pace like at thirty-three dark shades/ now you seein’ me/ rap moves on to the year three thousand.” The song is fitting considering the album itself sounds as if it really did come from the year 3000. We learn that the Dr. Octagon is in fact from Jupiter in “Earth People,” and also learn how much of a mutated neurotic he is in “Halfsharkalligatorhalfman.”

Dr. Octagonecologyst is a trip to another realm. Kool Keith, Dan The Automator, and DJ Q-Bert took us into Dr. Octagon’s crazed mind. The album’s content may never full be understood, but it will continue to be a monumental piece of work that is quintessential to the underground hip hop scene.

by Dareen

Formed with the like-minded musicians of Neutral Milk Hotel and Apples in Stereo, Elephant 6 Collective’s The Olivia Tremor Control have crafted an album that successfully caricatures the psych-pop that formulated the sounds of the mid 60′s. “Dusk at Cubist Castle” is a 74 minute stroll through the distinctive artists of the past, may it be Beach Boys influenced melodies, or the psychedelic signature of The Beatles. Their songs follow no exact scheme, often taking the audience through either tranquility, or unexpected chaos, ensuring there never be a dull moment, all part of a method to their madness.

The first half of the album illustrates the convivial sound that the band was aiming for. Nothing could compare to the jolting guitars of “The Opera House,” it steps away from the 60′s influence that really envelopes the album, and takes on more of a modern style, while still being considered a proficient pop piece. The mood immediately shifts to the more dulcet and naive tunes of “Frosted Ambassador.” Each song is craftily textured with layers upon layers of euphonic vocal melodies and savory guitar tunes that make up songs such as “Jumping Fences.” An impromptu mood shift occurs yet again

with “Define a Transparent Dream,” which inevitably demonstrates the neo-psychedelia undertones of the record. A more notable shift occurs during the second half with “Green Typewriters,” a ten track Beatles structured piece that allows the more obscure and experimental shades of the album to shine through. Various moments of droning distorted sounds that are incorporated with synths and complaisant vocals are found sprawled among all of the tracks. Following “Green Typewriters” comes “Spring Succeeds” with it’s familiar and catchy framework that dominated the first half, it’s considered more of an influential piece of the record, but it competes with “NYC -25″ that is also considered one of the more enchanting tracks, clothed with lush soaring melodies.

“Dusk at Cubist Castle” masters the breadth of sounds from the past while establishing exclusive sounds of its own. Although it’s an upbeat sing-along record it still captures the essence of the Elephant 6 Collective, and can be considered as one of the best pieces from the label. The lyrics could beconsidered absolutely “mediocre,” but the real charm of the record is its vivid imagery and its impressively diverse instrumentation.

by Dareen

Further expanding onto the rich cinematic soundscapes of its predecessor Compassion, Dan Berridge returns once again, contriving an album of homogeneous sounds- The Vessel; an album raging with influences from jazz to classical, whilst concurrently intermixed with the angelic and coaxing vocals of Richard Palmer; a mysterious and gothic piece that plunges listeners into a ghastly, yet strangely recompensing experience. Prior to contracting chronic fatigue syndrome- an incurable disease that swiftly attacks it’s victims with abysmal lethargy- Dan Berridge refused to succumb to his illness and managed to breed his complex orchestration of sound. His cunning juxtaposition of genres blended with vinyl pops, feminine vocals, and jagged strings make it a composition that fails to fall short from the atmospheric sounds of Bristolian trip-hop.

The Vessel takes us through a hazy progression of ambient electronica. We are introduced with “Beauty,” and we are immediately submerged into harmonious instrumentals, topped off with subtle guest vocals from Mimmi Jenkins, the closest equivalent to “Beauty” is like coasting in a melancholic dream. Richard Palmer makes his debut with “I Believe in Superman,” an abstrusely melodic song with unambiguous Asian influences. “I Believe in Superman” is said to be among Berridge’s most succulent soundscapes. The Vessel is considered one of the higher points in sample based electronica, Berridge takes a different approach on sampling- taking favored records, cutting them up, and playing pieces of them all together; “Darkling,” is a moving track driven by conjuring gospel samples, “Unborn” also samples Rimsky-Korsakov’s “Scheherezade,” which is apparent in the several layers underlining the song, jazzy sampling is also shown in “Manifesto.” “Angel Heart” takes us through yet another transcendent exploration of sounds, with its crackling record pops, murky vocals, and eloquent chord sequence- all which serve as more of the dominant and defining sounds of the record.

Berridge shed his frustrations, distress, and apprehension through his music. Regardless of its doleful tone, it leaves listeners satisfied. Broadway Project sets the sounds for life after dark, The Vessel takes us into the claustrophobic mind of Berridge, tinkering with trembling strings, fuzzy guitar chords, and whispering vocals. Broadway Project’s casual outtake on music is either pure genius, or mere luck. Nevertheless we are still left with the ambient and paradisiacal tone that construes who Broadway Project really is.

by Dareen

The West Coast Pop Art Experimental Band was just another group thriving in the rapturous years of the 60′s. They fused guitar pop, jazz, country, and folk to create their representational sound of what psychedelic rock really was. The band was a group of humorists who played with cynicism, ultimately showcasing the naive, and stereotypical “peace and love” message of the time period. A Child’s Guide to Good & Evil serves as The West Coast Pop Art Experimental Band’s stepping stone towards a more mature and refined sound. But it does not fail to deliver the humor, credulity, and atmospheric sounds that made up the 60′s.

There are evident elements of jazz in the album which can be most surely recognized in “Watch Yourself.” The listener is appeased by the slow rock sounds, and is driven by the expressive chorus. The song coasts along up until an eventual boisterous ending. The album is impelled by various mournful and melancholy melodies which serve as the more passionate songs all throughout. “Eighteen is Over The Hill” is the album opener which is drenched with mellow and haunting verses that contrast with the upbeat chorus. Likewise, “As The World Rises and Falls” is another mysterious and slow piece. The listener is commenced in beatific ambiance. The group as a whole are known to be jaded and humorous cynics. “Our Drummer Always Plays in The Nude” and “A Child of a Few Hours is Burning To Death” are the quirkier songs on the album. They are lead with funky guitars and playful mixtures of narration and singing. “Until The Poorest of People Have Money To Spend” is the quintessence of the 60′s sound of psychedelic rock with it’s artful alliance of fuzzy guitars and the mastery of the sitar. The final track, “Anniversary of World War III” is literally two minutes of utter silence, which has often been debated to represent the possible end of the world.

A Child’s Guide to Good & Evil was an exploration through the innocuous, dark, and cryptic corners in music. By their third album the group had matured and grasped the ability to reach a new profoundness in their sound; they finally grasped the concept of synergy, they gave each instrument a task in conveying emotions and messages through their sound. Their musical aptitude is often overlooked, more than likely due to their eccentric behavior. But nevertheless The West Coast Pop Art Experimental band will remain the funky group of psych poppers that were a part of the kaleidoscopic years that were the 1960′s.

by Dareen

Sit and think. Think of the most perfectly comfortable moment of your life. Whether it be wrapped in your lover’s arms, enjoying a quiet and serene day- watching the rain slowly trickle down your window, or perhaps finding the path to self-enlightenment. I Can Hear the Heart Beating as One sets the tone for these moments, and in itself is nothing but a warm and entreating album that placed Yo La Tengo at the top of critic’s acclamations. Yo La Tengo brings us into a world filled with love, sorrow, deception, and euphoria, all within the 65 minute period that the record fills. They have crafted each song impeccably, shifting from upbeat pop songs to gloomier songs laced with acoustics. Each track flows fluidly and ties together, solidifying their ability as songwriters and musicians. More commonly hailed as the second coming of The Velvet Underground, but yet often compared to My Bloody Valentine, Yo La Tengo shows that they are worthy of nearly all indie credibility with their originality and sheer talent.

“Sugarcube,” and a cover of none other than the Beach Boy’s “Little Honda” takes us on a buoyant journey of surging melodies, Ira Kaplan’s voice fits perfectly with the catchy drum hooks and upbeat guitar riffs. “Sugarcube” serves as the “poppiest” song of the album; it would not be a surprise to get lost in its frenzy. “Moby Octopad” and “Damage” are intertwined with Yo La Tengo’s signature droning guitars, washed with blissful feedback. “Damage” could quite possibly be one the saddest break up tracks ever written, which is expected with a line like “I hope I mumbled goodbye as you walked out the door.” “Autumn Sweater,” soaked with it’s dissonant organs, serves as the most honest and heartbreaking track of the entire album, and in most cases is found identified as the “hipster love ballad.” “Stockholm Syndrome” also avails as a stand out track; it’s a lighthearted song that is driven by acoustic guitar riffs, accompanied with whimsical, upbeat vocals.

Yo La Tengo succeeded in creating an album with varying flavors and harmonics. It is the essence of musical brilliance, regardless of its minimal mainstream popularity. It took Yo La Tengo seventeen years to create their own masterpiece, and now it is saluted as one of the best albums of the 90′s. They have covered a breadth of styles, but have also made the sound their own; they have branded it with their signature. I Can Hear the Heart Beating as One is any music lover’s dream, it has the ability to build you up, tear you down, and then build you back up again- in the most merciless yet consummating way possible. “I see a beach…the waves pounding against the shore. A beautiful girl, her heart beating against her breast. I see a tall, handsome man. Now I see it! Now I see it! I can hear the roar of the ocean. And finally I can hear the music of love. I can hear the heart beating as one.”

by Dareen