Pro Tools Software – Digital Music Software

The Album Leaf is a snorefest. This album is all about the only On!Air!Library! material that I know of that’s available besides their excellent debut and final self-titled LP. Buy this and On!Air!Library! and stop listening to The Album Leaf. Or don’t, I don’t care, but you’re missing out on good stuff and probably contributing to early onset of Alzheimer’s from under-stimulating your brain if you listen to too much of that garbage.

Ever I saw The Album Leaf in concert open for Sigur Ros a few years ago, I’ve been mesmorised by the band’s sound. (In studio, this is Jimmy LaValle by himself.) This CD (some might call it an EP) is the follow-up to their great 2001 album “One Day I’ll Be on Time”.

This split CD (with a band called On!Air!Library) contains 3 new TAL songs (17 min.) of the same dream-like instrumental music found on “One Day”. Track 2 “Essex” is reminiscent of/musically the sequel to “Audio Pool” from “One Day”, and the best track. Track 3 “Lamplight” (7+ min) is very reflective, and works quite well.

I’m not sure why TAL chose (or was required) to issue this split CD with On!Air!Library (which songs are not up to par with TAL), but nevermind. Until we get a proper follow-up full-fletched album to “One Day”, this will do.

This again is a complete surprise. Ok there was a lot of hype recently in the press (the NME especially) , the type which actually is more of a warning for some kind of untalented press dearlings. Also she is on XL rec ords which does not seem the most suited to her type of music. I had heard a gret single sometime recently so it was logical to go and purchase the album which is simply splendid. She works in almost at times ambient soundscapes which she combines with a folky sensibility. The album it reminds me most of is the vocal passages from “Another Green World ” -era Brain Eno. It also has the hushed sound of that era. It is at times a really strange but also a very strong debut from a female songwriter. Very promising.

I saw this artist mentioned as a ‘breaking act’in a newspaper supplement and the description intrigued me…”Imagine Brian Wilson going even further out on a musical limb in the 1960s, making Feist, Cat Power and a mid-1970s Marianne Faithfull sing the results, then being reworked by Radiohead, and you’re getting close to the album’s deep spookiness and evocative magic.” So, being a little gullible, I decided to order a copy.

Well, as you might expect, the album rather disappointed on a first play. I don’t think there is much out there, if anything, that could live up to that statement. Second play in and the album started to catch, it is now a real favourite and one of the few from the last couple of years that I play daily(and sometimes more often!).

Many of the songs start quietly with sort of catchy Scandinavian pop sensibility but then build through complex layers of instrumentation and vocalising the melodic themes equally rich and complex as the songs progress. It is the strength of those melodic themes that really lift this album above the norm. The other thing is it really does work as an Album not just a collection of songs.

What does it sound like? I must admit I am at a loss to describe it. Others have suggested Mazzy Star and Cocteau Twins, although she does’t sound much like those to me, while I discerned reminders of Prince, Arcade Fire, Chrissy Hynde/Sinead O’Connor(voice, a bit)and even Pink Floyd. All I’ll say is if that sounds interesting this may well be for you.

This is a real ‘grower’ of an album so I suggest you give it some playing time before making up your mind, if you do, I think you’ll find this a real winner.

Another NY product, described in a byline on Pitchfork as being shoegaze, it drifts far from those baseline influences and wanders out into ambient soundscapes punctuated by passionate vocals and ripe with samples and other surprising amusements. Alejandra Estrela Deheza’s vocals stand out impressively, and I can’t quite decide who she reminds me of, though it’s haunting at times and bold and decisive at others. The soft interplay between her and Brad Conroy epitomize most of the album, with its other striking features being found background sounds and samples and chorus syrupy guitar. For an example of that guitar, head to “Spaghetti Western Superstar”, and you’ll see what I mean. The track also featues hushed vocals and a downtempo beat, it actually reminds me of Ira’s more recent Yo La Teng stylings.
“Bread” is a great track with Alejandra’s vocals and a back vocal (herself?) reverbing between echoing guitars and a steady cymbal ringing drum line. I could almost imaging this is what Hope Sandoval of Mazzy Star would have sounded like if backed by the Drop Nineteens. Ok, thats an odd reference… actually its more reminiscent of Jane’s Addiction’s “Classic Girl. “Sad Sad Zoo” slows down, and rambles along almost into Americana tumbleweed with clean guitar and lamenting strings, and features Brad Conroy’s vocals instead of Alejandra’s. “Fall to Earth” showcases Alejandra and Brad trading vocals, with the former opening up with a drone behind effect drenched guitar, shifting duties over to the latter as the song ping-pongs around, with answering machine samples and a drum machine (also perhaps sampled?) that even does some hand clappin’ at times, and during a few moments a guitar note or two that evokes images of The Fixx. My fav track is probably “User28″, featuring many of the above mentioned approaches, but featuring a darker guitar melody complimented by stop-and-go baseline with some pop and slide to it. It was during this track I decided I really liked this release, and that I heard the influence I was missing; it’s very Cocteau Twins-esque (though Alejandra’s vocals are a bit raspier). The most accessible track is probably “Feb”, though not the most daring. They do get daring at times, and not every song is perfection, just a few listens to the cacophonic “Bamnalance” will make you aware of that, but despite this, the album a good album from a band with great promise.