Equation #25: Butterfly Explosion

Butterfly Explosion

Anyone who knows me can attest to my love of shoegaze and of Anglo-oriented music, thus it's no surprise that I instantly took to Ireland's Butterfly Explosion. Though some would say they missed the shoegaze movement by about ten years, I would counter that shoegaze never died; it just never grew. It appeared in roughly the same size that it disappeared, with a few lingering echoes to carry the torch, such as Starflyer 59, Voyager One, Sianspheric, Pacific UV and now Butterfly Explosion. I wouldn't say there's a huge amount that makes Butterfly Explosion unique amongst it's predecessors, they follow the traditional vein of layered sound, subtle build to wall-of-sound climax, eerie synth, some prog guitar, droll vocals, etc. But the reason they're here being mathematically dismantled is, even though it's not really new, it's still damn good. See there's still demand for shoegaze and as long as bands like Butterfly Explosion keep the lucid, murky dream alive Anglophiles like me can still revel in the days when tapered black jeans, floppy hats guys with lipstick and lots of pewter necklaces was still kind of cool.

Equation #24: The Boy Least Likely To

The Boy Least Likely To

I've only recently discovered these two fine young brits, and when I kept seeing them pop up in Rolling Stone I figured they had to have "made the scene" as they sometimes say some places. Indie at it's truest form, that's how I'd describe these guys. Clever, melancholy lyrics (the vocals often multi-tracked, Elliott Smith-like), a dash of alt-country/folk, a lingering devotion to Rubber Soul and some kind of gimmick. TBLLT's gimmick happens to be that they robbed a day-care center of all the toy musical instruments they could carry and use them to build a style that's both precious and sincere, as though they were finding a direct method for channeling their inner children. The result is a very listenable, often heart-warming, bunch of smart songs dealing with the typical indie subject matter: love, rejection, fear and loss. Rob Gordon with your baby cousin on xylophone.

Equation #23: Climber

Climber

Portland band Climber are one of the best local bands I've ever seen, and I don't think it's because I'm a huge Radiohead fan either. Standing there in some tiny bar watching these four young guys make this exciting, delicate, orchestral music is as stupifying as it is breath-taking. I may sound like I'm gushing, and perhaps I am a bit. When I first heard some of their free tracks from their website I thought, "this is the kind of music I've been looking for for a long time", it's complex, interesting, melodic and emotional in a "these-thoughts-came-to-me-on-Ritalin" kind of way. It's difficult to pin them down right now, their 6 track EP that came out in 04 is more subdued and simple than their anthemic and vivacious newer material. You can hear the difference yourself by previewing tracks on their website. Compare the older "Foxes" with the more recent "Bugbear", their current radio single. If the new tracks are any indication of their as yet unmentioned full album I see Climber being propelled nationwide in a very short time and with the amount of time they've spent refining their skill and sound the definitely deserve it.

Equation #22: Wolf Parade

Wolf Parade

So, first off let me say that (1) I'm sorry that it took me 6 months to post a new equation and (2) I REALLY appreciate all the notes and comments telling me that people still occasionally glance at my work while I'm off doing other things. I'm going to do my best to keep them coming as often as I can because I really do enjoy this and it keeps my music brain sharp.

That being said, let's talk a bit about Wolf Parade. On their record "Apologies to the Queen Mary" it takes approximatly 4 seconds to get hooked by Arlen Thompson's dry, stripped down drum stomp and after the dirge-like keys and bass come in at 12 seconds you'll be gluing your cd player's tray closed. The goodies don't stop there however. The rest of the album mixes some dancy indie with a few arena rock ballads all the while frosted with Dan Boeckner and Spencer Krugs' fractured, stuffy-nosed yelps that reminded me a bit of Bowie and a bit of Beck but with more energy. Overall this is one of the best albums of 2005. Stand out tracks: "You Are a Runner and I Am My Father's Son", "Shine a Light", "I'll Believe in Anything", "It's a Cure".