Kawai Kenji- Ghost in the Shell OST (1995)

http://www.mediafire.com/?tc5sbmauak88o1t

Soundtracks are tricky because they often don't stand on their own, without the images and dialog that they are supposed to support. I'm a bit dubious of soundtracks that play like entire albums-- they should be more evocative, leaving you wanting for a little bit more.

I recently re-watched this film and was struck by the music. It feels like the soundtrack to Blade Runner--both minimal and completely essential to the film's noir feeling, tinged with philosophy, sadness, indifference, anxiety, and wonder. 

The soundtrack is always somehow "empty" even in the fullest numbers (the title credits, which repeats periodically). The idea is to convey the ghost, or the spirit, that is somehow present in the materials that it shouldn't be--namely technology.

It's made me want to view the rest of this series. Plus, it's a killer soundtrack to a bike ride home. Wow.

An incredible live performance of the opening credit song ("Reincarnation"): 

Kawai Kenji in the studio, in a knit sweater and mullet.
I don't know if this makes him more awesome or just cringe-y.

jj- No.3 (2010)

http://www.mediafire.com/?1qqbr1dtjghb48n

jj are a Swedish pop group, and if you can mentally squish together your notions of the singer Lykki Li with the stellar vampire movie Let the Right One In, you could come up with something like jj.

I know, right? What the f*** kind of band name is jj, in lowercase letters? Grr. Those swedes (writes the guy named after a viking).

No.3 is their third (!!!) album that sounds shimmery and perfect. It's cheeky and cheesy and classy and catchy. Sometimes high schoolers can really nail that "heartbreak" thing right on the head.

If you're up for something poppy and youthful, but somehow tasteful, give it a try.

Luke Temple- Snowbeast

http://www.mediafire.com/?k0ls0vv8izwrhkc

You know you have a good friend when they email you to write, "Hey, this cd makes me think of you. I think you'd like it."

Luckily for me, when someone does that, they're often right. Luke Temple was recommended to me by a good friend and I ended up really being drawn by it. I really got hooked on it when i was riding my bike downtown on the way to see Camera Obscura play live. This is an amazing "Hot-summer-night-on-a-bike" cd-- lots of swirls, loops, ambiance, textures, and great vocals. The songs are simple and catchy, and they fade and wash into each other, so that the whole of the album is greater than the parts of it.

Snowbeast (nickname for yeti) made me think about songwriting and recording differently. Luke Temple sings in this great haunting register, and layers his vocals at parts. There is a strange absence of low end stuff-- hardly any bass, etc. But it's really the high, lonesome vocals that do it for me. Plus the gurgling synth textures and "less is more" approach. The tracks are eerie, pretty, and haunting, which is like icing on the cake.

Give it a chance, listen to it a couple of times, and I bet it'll grow on you.

By the way, this image was taken from the Daytrotter Sessions site (which you should look into, if you haven't). Luke Temple with an armful of Yeti.  Wacky.

Braids- Native Speaker

http://www.mediafire.com/?ztf5zuxaem3skhg

BRAIDS are:
a) one part early 90s classic 4AD sound (already recipe for greatness),
b) one part Gang Gang Dance,
c) one part Siouxie and the Banshees, and
d) one part Lars Ulrich.

Imagine really tasteful synth textures (i know--oxymoron, right?), female vocals with lots of personality and strength, super huge pop sensibility, soul, and the feeling of being seventeen years old on a spring break camping trip. Braids is really my thing this week.

Wearing a truly terrible band name on their sleeves, Braids are a four piece from Montreal, Canada. They could fit anywhere in a bill with Cocteau Twins, an aggressive version of Slowdive, Yeah Yeah Yeahs, and Animal Collective. Really, really great stuff that can fill your heart on the cloudiest day or brightest summer day.

Singer Raphaelle Standell-Preston is part of another poorly named group (Blue Hawaii), who sound basically like Braids, but less polished. Standell-Preston is interesting: she gets comparisons to Jenny Lewis and Bjork (which--C'MON!--has to be the laziest comparison someone could ever draw); however, she sounds to me like Joanna Newsome singing electronic music.

Love 'em.

The Well-Tempered Synthesizer

http://www.mediafire.com/?x3i5x897d3kgpyg

It must have been exciting to be a music fan in the 1960s, as there was an "anything-goes" mentality with record pressing. I have found records with yodeling, honky-tonk, children's choirs, puppets, and cricket recordings and they all seem to have been released willy-nilly into the atmosphere with no idea of sales, target audience, or financial concern.

One of these funny experiments was made by Wendy Carlos, an accomplished pianist who had an unusual curiosity for the emerging Moog keyboard. Unlike the average wanker, she approached it as a legitimate instrument and made layered recordings of classical compositions, in which she played all of the parts on a differently-styled Moog patch. Surprisingly, they were such a success that she was able to make four different albums.

The Well-Tempered Synthesizer may be one of my favorites since she had honed the process at this point. There is a bit wider range, so that she was branching out from Bach to include Scarlatti, etc. They somehow sound timeless ("classical") and futuristic at once. I can't think of anything happening today that still sounds this fresh.