The first thing you notice about Jason Vieaux, right arm outstretched for a handshake, are his...
Published: 08/08/2013 | 0 Comments Posted
Bleepy, happy Austinites The Octopus Project — who’ll bring their theremins, modular synths and other assorted carnival machinery to Johnny Brenda’s on Tuesday — make music that’s sort of electronic, sort of math-rock and all-the-way new-wave-y weirdo pop, filled with the playfully manic spirit of Enon and Deerhoof. Their fifth album, Fever Forms (Peek-a-Boo), stretches their typically instrumental approach to include several winsome, Stereolabby vocal numbers, making the proceedings all the more goofily infectious.
—K. Ross Hoffman
Ernest Greene, the laptop mastermind behind Washed Out, makes chillwave for days when there’s time enough to pay no attention to time. Paracosm (Sub Pop), as its name suggests, does not demand an entirely conscious listen, but like a lucid dream it allows the choice to climb deeply within or exist cautiously outside of it. But regardless of whether you submit to the chill, it will likely permeate some layers of skepticism, and inspire, if only for a moment, a passion for relaxation.
Mama always said, if you want real fervor, talk to a convert. Little G Weevil, from the first skimming of the bottle neck over the acoustic resonator guitar’s strings to the metronome-steady foot patting, preaches the blues, deep Delta denomination. He’s a convert, for sure, having grown up in Budapest. Moving (Vizztone) is just him and his guitar, serious fingerpicking and mournful singing, pure growl, joined on a track or two by the band — all acoustic though, just like those old dances. Once in a while they do make ’em like they used to.
Thin-but-potent-voiced chanteuse Aluna Francis and two-step/Timbaland-loving producer George Reid — collectively known as (wait for it) AlunaGeorge — combine ’90s-style diva-soul with crisp, sophisticated techno-pop rather more artfully than they combine their names. Body Music (Vagrant), making good on monstrously hooky early singles, slots easily in between several other 2013 breakouts (Chvrches, Autre Ne Veut, Disclosure) although the particular combination they nail here most readily recalls a spunkier, femme-fronted update of Junior Boys circa 2004.
—K. Ross Hoffman
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