Angel Olsen – Burn Your Fire For No Witness

—– “Maybe this is a lofty thing to say, but I feel like in interviews, it’s difficult because people will ask questions and I’ll want to say something intelligent. But at the same time, I don’t want to talk too much about it because it’s not that big of a deal; it’s just the writing process.”                                                                              – Angel Olsen: Interview at Tiny Mix Tapes —–This review … Read More

Sun Kil Moon – Benji

  I. Carissa   “I remember wondering, could there be a light at the end of your tunnel?”   “Carissa was thirty-five, raised kids since she was fifteen years old and suddenly died. Next to an old river, fire pit, oh there’s gotta be more than that to it. She was only my second cousin but it don’t mean that I’m not here for her or that I wasn’t meant to give her life poetry, make sure her name is known across every city.”   II. I Can’t Live Without My Mother’s Love   “My mother is 75. One day … Read More

Arcade Fire – Reflektor

—————— Reflektor is the 4th album by Canadian indie-rock band Arcade Fire. It was produced by LCD Soundsystem’s James Murphy and finds the band incorporating elements of reggae, ska, and funk music into their usual sound. In addition to some forthcoming full reviews, we got the entire Hearing Double staff together to discuss the double album on a track-by-track basis below. —————— 1) Reflektor  Tucker Phillips: I feel like this is the most obviously LCD Soundsystem-inspired song on the album. It’s, ya know, funky. Jackson Scott: Yeah. Funky is a good word. TP: 2013 is the year of the disco. … Read More

Oneohtrix Point Never – R Plus Seven

Those familiar with/enamored of Daniel Lopatin’s work need no explanation/conversion here. Those unfamiliar with/dismissive of Daniel Lopatin’s perspective/aesthetic may find any point of entry into his world obstructed/obscured. Not necessarily by any obstacle that Lopatin, here under his moniker Oneohtrix Point Never, has himself installed between potential listeners and his creative epicenter—although that detractors of Lopatin’s work exist demonstrates that our preconceptions of how music should/should not sound take precedence over how it does sound/has sounded before—but by a grave miscalculation of Lopatin’s ostensibly mathematical/geometrical method of composition/performance. An even greater obstacle/impediment that keeps Lopatin’s music at a distance is, … Read More

Drake – Nothing Was the Same

Nothing Was The Same is like an expertly-curated twitter feed: intensely personal ruminations delivered in half-clever blobs of text, all on top of a simple but well-fitting background. It’s a remarkably consistent, heady album that actually justifies some of its own hype, and the production is almost universally fantastic. It’s maybe not surprising though that the one weak link that holds it back is Drizzy Drake himself; his braggadocio and his navel gazing both come off as false,  either because of his mediocre lyrical skills or because he changes roles so fast you start to think he’s trying to make ... Read More

Forest Swords – Engravings

This article is both a music review as well as a reflection of my limits as a music critic. In 2012, psych-revival group Tame Impala made quite a splash with sophomore record Lonerism, and for understandable reason: texturally, it stuns; yet underneath its fuzzy outer shell, I find its melodic structures shallow and ineffectual. Perhaps this kind of analysis ignores that proverbial “forest” for those idiomatic trees. Scope is certainly a necessary analytical tool especially in consideration of art that seems purposefully stripped of details and steeped in atmosphere. Engravings, English dub artist Matthew Barnes’ first full-length record as Forest ... Read More

Julia Holter – Loud City Song

Let’s get this all out into open air: in high school, I played alto saxophone in jazz band and annually attended a summer jazz camp. Between rehearsals, we had some classes on jazz history and theory, and one particular instructor loved experimental composer John Cage of “4’33”” fame. This thirty-minute class, which most of my peers slept through, instilled in my psyche a deep interest in indeterminacy and sound installation (at this time, it fit my naïve negligence of form and structure; now, I realize that experimental sound art interacts with structure in complex and compelling ways). Also in high ... Read More