Archive for the 'Caviar' Category

20
Dec
14

Top 3 EPs of ’14 In No Order…

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Perhaps it’s the inability to focus on much for long. Or maybe I only have limited patience for a whole record before wanting to aurally ingest another vibe. Regardless, the EP is a preferred format. Many of my favorite extended plays have been introductions to acts. A sampler — or a track or two — can only go so far. If the act hits hard, I want more. The EP gives you enough to not tire of that artist before a proper full length is released. The material that the EP provides, especially those artists who may be debuting themselves on record, aren’t providing you with filler — sometimes the debut EP is the best thing the band ever does. It’s 4-6 tracks that don’t stop. What’s below are two absolute favorite artists in EP format and a newcomer to me.

sElf :: Super Fake Nice

Matt Mahaffey of one man jam fame sElf has been teasing us with “Super Fake Nice” for a minute. It ended up being an EP, one six songs deep and housing five new ones. Rewind 14 years ago, and Gizmodgery and its toys took over my speakers. Now in 2014, I have an official sElf release to monopolize my ears. From the opener, “Runaway”, with its smile inducing melody and shoulder shake inducing bounce, to the closer, “Splitting Atoms”, with its SPM-era fuzz and driving guitars, lies six classical sElf numbers bristling with Matt’s recipe for my aural satiety. His fusion of 80s beats and rhymes, an adulation for Prince, sugary pop sensibilities, and a 19 year old solid track record make Super Fake Nice an automatic go-to for 2014.

Forgotten Species :: Hades Fades

A debut EP from one of the most trusted names in my musical catalog. Blake Smith, a co-creator of Chicago staples Fig Dish, Caviar, and the Prairie Cartel, has unveiled his latest concoction: Forgotten Species. The Hades Fades EP is self-described “noise-pop”. A barrage of distorted cacophony care of ear plug inducing guitars is laced throughout the five tracks, sure. But interwoven amongst the fuzz and Brit influences are pure pop songs, ones that Blake has been writing for two decades. It’s not that he has a formula that he’s repeated with four previous acts, it’s the man knows how to construct songs that matter. Tracks I’ve been repeating since ’95. One part wit and charm through well penned lyricism; two parts rock; one part Chicago hustle.

Tourist :: Patterns EP

Soulful house, music that the right church, one that wants to lose themselves in celestial, gospel-like lyrical patterns could embrace, if their pews were sturdy enough. Tourist, a London-based DJ/producer welcomed himself into my speakers this year. Four tracks, all pulsating with an eruption of beats as a foundation as minimalist yet powerful vocals evoking a better tomorrow drive me into one of the most played EPs of 2014.

 

 

 

 

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12
Aug
12

Chicago’s Caviar…

She got the gold mine; I got the shaft…

This blog is bogus. I proclaim I’m sharing music I truly dig with you. But returning to the archives showcases only a few acts I hope to cheerlead for until my ear drums are blown out. A joke, but there are many acts I’ve held on the highest  pedestal who’ve yet to grace these pages. It’s a jagged peak, one that once is surmounted, opens up all the posts one can generate. Some acts you covet so much you’d hate to butcher their MiS debut.

Caviar, a guitar driven act that gave nods to the modern rock sound of the mid-to late 90s, has never been formally introduced.  Figdish, their predecessor, has been mentioned. What Caviar reincarnated into got a few nods — and they are the best supergroup ever. Caviar’s late 90s’ sound was fresh to me. Yes, they hopped on the electronica sound — without this direction, The Prairie Cartel most likely wouldn’t exist — but used those elements sparingly to channel an amalgamation of the sound of before with a direction that accentuated them well: Multi-layered tracks marinaded in crunchy, hard-hitting guitars with a bright appeal courtesy of keys and perfectly placed samples over witty lyricism.

Take “Goldmine”, an indifferent sounding vocal delivery proclaiming one’s inferiority to an unreachable female prize. With loud, chugging guitar lines, a light sprinkle of piano melody, and a shameless approach to woman and pop music in general, “Goldmine” speaks highly of Caviar’s true character.




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