Something is in the air today — first it went from a pretty beautiful morning, afternoon, and evening to a nightmarish thunderstorm, seemingly out of nowhere.
Now as I riffle through my emails, I’m getting the distinct feeling that it’s 2007 all over again and the musical outlook for this week is quite gloomy. Not in a bad way, but in a “I think I need a new asymmetrical haircut and more eyeliner” sort of way.
Since 2007, I feel as though the music industry has focused on sonic and light-sounding bands (Grizzly Bear, MGMT, Dirty Projectors, etc.), and bands like Interpol, The Editors and the like have kinda fallen off the map.
Yet here we are two years later faced with some new work from Glaswegian band The Cinematics and Paul Banks of Interpol. Both acts/artists are known for their strong leaning towards sounding like the work of influential “sad bands” like Joy Division (mysterious, complicated music accented by a love of droning tones, etc.). Also both groups released their last albums in 2007 (A Stranger Education for The Cinematics and Our Love to Admire for Interpol.) And both are known for their dashingly handsome lead singers (Scott Rinning of The Cinematics and Banks, obvs.)
So it’s with their similarities in mind that I present to you the music of 2007 in its refined 2009 form:
The Cinematics are back with a whole new album titled Love And Terror to be released by The Orchard on October 6, 2009. The LP, which was recorded independently by the band after their previous label, TVT Records, closed up shop and filed for bankruptcy. The first single will be the title track of the album. Watch the video below. See how dreamy Scott Rinning continues to be:
The other aesthetically pleasing fellow with new music to share is Mr. Paul Banks of Interpol. Now on his own with a solo side project, Julian Plenti, Banks released the album Julian Plenti is … Skyscraper on August 4th on Interpol’s old label, Matador Records. Check out the lead single, “Games for Days” shown below:
Although this particular song will remind fans very much of Banks’s work with Interpol, the rest of the album proves to be quite different than what you’d expect. Ok- the monotone voice is the same, but musically he seems to be branching out to his “softer side,” with more acoustic and piano-based songs (“Madrid Song,” “Girl on the Sporting News”) — and even the brassy horn here and there (“Unwind”).
It’s definitely an interesting album that I think worthy of a listen or two.