Artists have to open up and be completely vulnerable in order to relate to their audience, and Mates of State have exactly that on their latest album, Mountaintops. Although topics and moods shift throughout the album, for the most part, the lyrics include such candid retellings of relationship woes that you’ll almost feel like you’re listening in on something very personal. Rife with retro melodies and honest lyrics, Mountaintops retains the quirky musical identity Mates of State has built for itself. Some songs, like “Palomino” and “Maracas,” are simple, upbeat, and groovy, whereas offerings like “Basement Money” are more lyrically and musically intense. “Sway,” the third track on the album, sounds like a revived and incredibly improved ‘80s prom anthem. But the album also features songs like “At Least I Have You,” a beachy, California-vibe song that is ironically about cold weather (“It’s cold but it reminds me of something / At least I have you”). The album comes just one year after Mates of State’s acclaimed last release, Crushes (The Covers Mixtape). Although Crushes was a creative compilation — including favorites from Tom Waits, The Mars Volta, Nick Cave and Daniel Johnston — it’s good to hear more from Mates of State itself.
— Kendall Harris, Staff Writer
Is a band still a “supergroup” if most people haven’t heard the members’ back catalogue? Portland- and D.C.-based rockers Wild Flag provide an interesting example. Sleater-Kinney has a dedicated following, but Helium and the Minders are anything but chart-toppers. Nevertheless, Wild Flag — comprised of members of these three groups — have been deemed a supergroup since their formation was announced on singer/guitarist Carrie Brownstein’s blog. Their eponymous new release has a sound to match the description. The first thing you notice about Wild Flag is the instrumental chops of all parties — these ladies aren’t prom queens afraid of chipping their fingernail polish. The members have been active musicians since the early 1990s, so it’s no surprise that they’re all skilled, but the chemistry between them is even more impressive. There is absolutely nothing dainty about Wild Flag’s sound. The guitars from Brownstein and Helium’s Mary Timony are rich, full and uninhibited in both tone and activity. Drummer Janet Weiss beats her drums with the fury of someone much larger and with significantly more testosterone, but with more style than many of her contemporaries. The Minders’ Rebecca Cole’s keyboards fade comfortably into the background, occasionally coming to the fore, standing out proudly above the rest. Wild Flag starts at full throttle with “Romance,” a searing up-tempo opener with a chant-along chorus that defies all prior notions of catchiness. “Boom” is eerie and intense, in stark contrast to the lofty group-wide harmony vocals of “Glass Tambourine.” The album reaches its punkrock peak with “Future Crimes” and “Racehorse,” two high-energy tunes with more depth than most in that style. Most of the record stays in the realm of straightforward rock with elements of post-punk and alternative, similar to Brownstein and Weiss’s Sleater-Kinney. Even so, it’s rarely boring — it sounds fresh, and yet like this style is all they’ve ever played. Everything but the vocal tracks were recorded live, so seeing Wild Flag in concert is sure to be a powerful experience. These ladies play with the same youthfulness that they had nearly 20 years ago; Brownstein’s voice has aged a bit, but she’s still very much herself. Wild Flag is the birth of something important — supergroup or not, you won’t want to miss what’s next.
— Zack Kraimer, Staff Writer
In a world of pop music where many artists rise to fame with catchy lyrics that only appeal to listeners because they rhyme, it’s refreshing to know that there are still a few thoughtful musicians out there. With songs marked by pregnant pauses and references to life’s changes and challenges , Blind Pilot has proven itself to be one of these bands of substance. Its new album, We Are The Tide, captures the depth and scope of human existence with meaningful sounds and language. Although many artists have mastered the art of creating harmonious music, Blind Pilot has taken this craft to a new level. The album is a combination of humming guitars, giggling drums and voices that sound like moving streams. On the track “New York,” the band speculates about the evolution of a romantic relationship against a background of subtly shifting music that sounds like a symphony ushering in eternity. Similarly, “Get It Out” begins with a quietly resounding drum that appears on the verge of crescendo. The lyrics of the album are as meaningful as the musicianship. In “White Apple,” the group uses the concept of darkness as a metaphor to discuss transparency. In tones that sound like an ocean wave, lead vocalist Israel Nebeker asks individuals to open up their hearts in the face of dimness or obscurity. Although the lyrics speak volumes about the human condition, the song may also suggest that private spaces ideal for self-disclosure. From voices that sound like running water to conversations about human dialogue in context of shadows, the entire album appears to be about the beauty and power of unity. Ultimately, the listener comes away from it feeling like they’ve transcended a boundary.In essence, the album creates the impression that people have somehow become one with natural elements. For this reason, the album’s title — We Are The Tide — seems entirely appropriate. Although We Are The Tide is unique and intriguing, the background of the group is equally interesting. Formed by Nebeket and drummer Ryan, the group has used bicycles to earn its success. Planning a tour through which they pedaled their way to various locations in order to perform, the group has played its music all over the West coast. Up to six members at the moment, the group is currently planning another tour — though this time, they will travel by van.
