Real to reel

Local observations from a movie, music buff

Arcade Fire does it again

A slew of popular indie bands have new albums, including the stellar “Neon Bible” from The Arcade Fire

By Dan Ochwat

Absolutely avalanched in new music: Many major artists — at least in the indie world — released new albums this month. (Well, one album is officially released March 6 but was leaked and spread like wildfire online. Sorry, Arcade Fire, I do have it pre-ordered.)

Clap Your Hands Say Yeah, Deerhoof, Bloc Party and more have been fighting for our time and attention the last couple weeks, vying for top spots in our musical rotations. I’m gonna break ’em down by the albums that “exceeded expectations,” “hit the mark” and “sucked ass.” Actually, that’s harsh. Let’s go with “disappointments.”

Exceeded expectations

It’s all about The Arcade Fire. The Montreal band quietly hit the scene with their 2004 debut album, “Funeral,” a veritable indie-rock classic. The album garnered raves from critics, and over the course of the year gradually spilled into the public’s bloodstream. They became that band, the one every one of your friends would come up to you and say, “You ever hear of Arcade Fire?” Coupled with a tour-de-force live show, the band became the darlings of indie rock and, here’s the real shock, actually got rich bitch. Needless to say, their second album, “Neon Bible,” is highly anticipated, and it’s another classic.

Laced with sharp lyrics, questioning war, religion and American pop culture, it’s another dark album, but with such an upbeat delivery that the songs have a hint of hope. In that respect, it’s very much like “Funeral,” but that’s it. This album has a different sound. It’s more punk, more rock, even a bit of Americana thrown in (I like to call them “Eddie and the Cruisers” moments). I believe this album is prepped for a more mainstream audience, and it is mainstream done right. This is a band that went from nowhere to playing three soon to be sold-out shows at the Chicago Theatre May 18, 19 and 20 and are proclaimed as Bono’s favorite band. Standouts on the album are “Ocean of Noise,” “Intervention” and “(Antichrist Television Blues),” which is just a rollicking head-banger. I’m hesitant to say “Neon Bible” is better than “Funeral,” because that could be blasphemous, but it just may be.

Athens, Georgia-based Of Montreal have never been one of my favorites, but their latest album “Hissing Fauna, Are You The Destroyer?” is forcing me to rethink my position. Like Arcade Fire, this album surprisingly has some acerbic lyrics, something I would have never expected from such a goofy band. Frontman Kevin Barnes sings in his patented falsetto, “I guess it would be nice to help in your escape from patterns your parents designed,” in the song “Gronlandic Edit,” which challenges religion. But it’s a dance song. The beats on this album are unparalleled to any they’ve produced before, and, again, with some real witty lyrics. In the song “Heimdalsgate Like a Promethean Curse,” Barnes pleads for chemicals to shift his mood back to good again. Hearing his desperation is a real downer, but you also can’t help but dance. It’s crazy, but I love it. They play Metro on March 15.

Menomena’s second full length album “Friend or Foe” isn’t highly anticipated because many people have never heard of them (guilty as charged), but this excellent album will open some eyes. With complex instrumentation and a nice up-and-down tone, its an epic-sounding album packed into a pretty short ride. The band is part Man Man craziness, part Secret Machines and part Tapes ‘n Tapes. It’s destined to be one of the year’s best. Check them out at the Empty Bottle March 20.

Hit the mark

Clap Your Hands Say Yeah sidestepped the industry by putting out their own self-titled debut album in 2005. Word-of-garbled-mouth took the whiny band to the top. With their second album, “Some Loud Thunder,” self-released again, the band offers up a more produced and satisfying album. Lead singer Alec Ounsworth annunciates a bit more here, and the band really experiments with some new sounds, no better than with the piano ballad “Love Song No. 7.” They also fail miserably with the unlistenable opening track. Believe me, you’ll think your stereo is broke. It’s like an Andy Kaufman prank. The album doesn’t have the heavy guitars like the earlier album but still has some songs that’ll get you moving like “Satan Said Dance.” Overall, it’s a nice album.

Satomi Matsuzaki sounds like Elmo when she sings. So, you can imagine Deerhoof has its detractors. But the band has a large following too, and their latest release, “Friend Opportunity,” will satisfy the core fan. For me, the Elmo voice is always a distraction, but the music is always some of the best around. The first half of the album is an excellent example, the guitars and the arrangements are just great rock music, even if fronted by a Sesame Street character. It’s the makings of their best album yet, and then it plummets into the depths of the unlistenable, leading with undoubtedly what will be the worst song of the year, “Kidz Are So Small.” Here, Matsuzaki shares this wisdom: “If I were a dog, and you a man, I’d throw a stick for you.”

British band Field Music released its second album “Tones of Town,” and it’s more easy-on-the-ears rock. They have a throwback sound and make some of the most pleasureable music. This album doesn’t meet the magic of their fantastic self-titled debut but by no means is a sophomore slump. See them with Menomena at the Empty Bottle March 20.

When I was dating my now wife in college, I despised Patty Griffin. I was like a jealous lover, annoyed with all of the attention my wife was giving this vagina music, this raspy folk singer. I am ashamed, because when I really sat down to listen to her, I realized she is the most underrated artist around. “Children Running Through” is her fifth album, and it’s pure Patty. Gorgeous piano, sensual acoustic guitar, great writing — it’s a very good album. The standout song, “Heavenly Day,” may be one of her best ever. It’s a song Otis Redding or Sam Cooke would be proud of.

Disappointments

This really pains me to write, but the second Bloc Party release is a sophomore slump. Titled “A Weekend in the City,” the record feels as lazy as its tired album title and artwork. Their debut album “Silent Alarm” is head-to-toe catchy and unforgettable. Here, there are fewer jams, more emo, and just comes off boring. There are, of course, some catchy hooks on the album (I am caught singing the chorus to “Prayer” at least once a day), but overall it’s a massive letdown. The writing is more TV on the Radio “Wolf Like Me” type of songs but using witches and vampires. More than anything, it just doesn’t carry that dance-punk vibe and energy that was just so infectious on “Silent Alarm.” They play the Congress Theater March 23 with Dr. Dog, and I’ll still be there.

Another victim of boring is The Shins’ “Wincing The Night Away,” their first album since becoming the band that will change your life. This album will help you sleep, that’s all. It’s a pretty album, and nothing to wince at, but play it once, and you’ll forget you even have it. In a month, you’ll be asking, “Weren’t The Shins supposed to come out with a new album?”

In concert

A mini music festival of sorts, the prize show this month is the SXSW-bound benefit at the Hideout on March 10. I think it starts around 11 a.m., and is a full day of some of Chicago’s best local bands heading to Austin for SXSW. The lineup includes Catfish Haven, Judson Claiborn (of Low Skies), Maritime, Office, Sally Timms, Sybris, The 1900’s, The Narrator, The New Duncan Imperials, The Race, The Redwalls, The Zincs, Tijuana Hercules, Velcro Lewis & His 100 Proof Band, The M’s and Prairie Cartel.

Playing 2/23 at the Beat Kitchen are Brit-rockers Snowden and Frenchmen Malajube. On the same day, Apples in Stereo promote their latest album with a show at Subterranean. Beach Boy-sounding Saturday Looks Good to Me plays Hideout on 2/24, and that Saturday also has an incredible triple bill with The Changes, The Spinto Band and dios (malos) at the Metro. Shoe-gazers The Race play Subterranean on 2/24.

Sold out already, but you can try and scalp for Bright Eyes, 2/25 at Metro. Acerbic rockers The Thermals play 2/28 at Subterranean with The Big Sleep. The pretty sounds of El Perro Del Mar come to Lakeshore Theater on 3/6. They play with “Grey’s Anatomy”-theme-song-producing Psapp. Fun-as-hell Cold War Kids play two shows on 3/9 at Subterranean. One show is with the equally fun-as-hell Tokyo Police Club.

On 3/11, The Walkmen play Schubas, and on 3/12 and 3/13, TV on the Radio play the Metro. Pop band +/- (Plus Minus) play Subterranean 3/12. Swedish export and latest Sub Pop signee Loney, Dear play Schuba’s 3/18. A great dance double bill, Ratatat and 120 Days play Logan Square Auditorium 3/21. Finally, Neko Case plays three shows at Park West 3/28, 3/29 and 3/30.

Keep sending me your music or anything else on your mind at danochwat@hotmail.com. I’ve also joined the MySpace army, so give The Real Chicago some love at http://www.myspace.com/danochwat

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