Earlimart – Hymn and Her

Earlimart is shaping up to be quite the prolific indie rock band with their sixth studio release, Hymn and Her (available now on Majordomo Records), coming out just one year after last July’s Mentor Tormentor. Subtract a few previous members and Earlimart now exists solely as a duo. Specifically, Aaron Espinoza and Ariana Murray make beautiful hymns together while keeping the ‘him’ and ‘her’ in, well, Hymn and Her. Aside from winning the award for “Album Title Pun Of The Year,” Espinoza and Murray share vocal duties. Although he mostly sings lead while she complements him with backup vocals, this record marks Murray’s debut as a capable female lead vocalist, as well… and hopefully this becomes a signature mainstay.

After countless recommendations from trusted resources, I was hesitant starting my indie rock reconnaissance six albums in. However, Hymn serves as an excellent introduction to their sun-kissed brand of California dream pop. Many claim their entire sound catalogue bears heavy resemblance to the likes of Elliott Smith, the Pixies, and Sonic Youth. It also seems to me the sounds crafted here are in the vein of Pedro The Lion, Rogue Wave, Camera Obscura, and American Analog Set. If you already dig these artists, it’s safe to assume you’ll be a fan of Earlimart sooner than Ryan Adams churns out yet another record.

This entire album is incredibly fluid, with each song flowing seamlessly into the next. Boasting a sunny disposition and easy-going feel, Hymn is great for a long drive along the coast or a laid-back evening at home sipping wine on the couch. Thematically speaking, these songs don’t exactly span continents but this isn’t necessarily a bad thing because soothing melodies coupled with relatable lyrics is a musical formula that never gets old.

Remember when Hope Sandoval (Mazzy Star) and Jim Reid (Jesus and Mary Chain) unexpectedly wrote the romantic duet, “Sometimes Always,” that left people wishing they had collaborated on an entire album afterwards? Well, Hymn basically sounds like the album they never made. Much like Reid, Espinoza occasionally rocks the cool guy quasi-spoken word vocals (and actually gets away with it) and as Sandoval, Murray could teach the Feists, Jenny Lewises, and Emily Haineses of today what it is to be sultry. In fact, when Espinoza and Murray’s musical chemistry comes together, they produce gorgeous results. With his resonance and her sensuality, together they “really make babies when the mic’s on” (quoth Kanye West).

In a world of noise-based indie, sometimes it’s nice to discover some great make-out music that’s perfect for getting your horizontal sway on. Espinoza and Murray craft atmospheric mood music that’s meant to be enjoyed by every him and every her during life’s more tender moments. And the instrumental arrangements form sound pieces that are warm, mellow and intimate, much like the prelude to a really good kiss. Sometimes it’s Espinoza’s silky smooth tone, other times its Murray’s wispy backup vocals that serve as gentle coos in an ocean of “ooh’s” and “ahh’s,” but either way… when their vocals collide, you’re in for some sonic sensuality.

The record opens up with “Song For” a catchy number that hits you much like a song on full blast when you turn your engine and realized you left the car radio on. It’s also the album’s best driving tune. The Camera Obscura-esque break-up gem,“Before it gets better,” is serene in its simplicity and quite possibly a song we’ve all written in a past-life. Much like a newfound relic of love fallen from grace, this song is hauntingly beautiful and allows Murray’s voice to shine. But it’s “Face Down In The Right Town” that showcases Espinoza crooning along with Murray’s soft “ooh’s” and “ahh’s” and reminds us how harmonious male/female vocal interplay can be. Plus, the surprise trumpet at the end adds a jazzy mariachi feel to mix things up a bit. On “Time For Yourself” (a Murray number), the electronic beats sashay around with simple piano and add a nice contrasting touch that works along her dreamy voice.

Then there’s a bevy of tracks that are decent Earlimart songs or just good because they sound like some of indie rock’s forerunners. “For The Birds” and “God Loves You The Best” have soaring vocals reminiscent of Rogue Wave, where “Teeth” is a cheap-imitation of “We Used To Be Friends” by The Dandy Warhols, only better and slightly less irritating. “Great Heron Gates” showcases Espinoza’s whispery vocals a la Snow Patrol, plus the usage of bird sounds are the cutest thing since Tom Petty did it on “Learning To Fly.”

My only real criticism is you strip a band down to a male/female duo, name the album Hymn and Her, but oddly… where is the obvious duet? On the uber-romantic title track (“Hymn and Her”), this was a potentially amazing duet that never happened. As he sings so gently as if she is blowing air on his vocals that adds even more sweetness, but she never gets a chance to shine on her own. An acoustic cover of, say Postal Service’s “Nothing Better,” or an updated spin on Jesus and Mary Chain’s “Sometimes Always” would have been stellar options they also did not take. It also irks me that they closed with “Tell Me” when second-to-last track “Town Where You Belong,” with its blaring vocal outro and slow hand claps, makes more sense as a closer. But when you find yourself criticizing just for criticism’s sake you know you’re reviewing one helluva solid album.

Earlimart: website | myspace

Written by: Mona Sheikh

Buzz Under The Stars – Kansas City

Transforming Kansas City’s 150 year old City Market, into a downtown amphitheater is not always as good of an idea as one would assume. In the past, these events have run into problems: several bands simply didn’t have the pull to sell tickets. Other events, such as Ben Folds and Rufus Wainwright saw struggling numbers due to rain the night of the show. This night however, could not have been a better night to open the “2008 Buzz Under the Stars Concert Series.” And, as a reward Kansas City came out in droves.

The evening’s first band, The Morning Benders found its way to Kansas City by way of the Kooks‘ current national tour, serving as the latter’s support. Nonetheless, they couldn’t have fit into the show’s lineup more flawlessly. Their performance, driven by the flow of dark yet dance pop songs, like “Waiting on a War,” set the tone for what would be an energy fueled event. With a sound as infectious and catchy as The Shins and the ability to grab exposure from such great tour mates, I look for big things to happen to this band. The Kansas City crowd of almost 20,000 who seemed glue to the group’s set seemed to agree. They cheered and supported this band in a manner that would almost seem as if they had come to see only them. That was honestly really nice to see.

Following The Morning Benders, we found The Kooks, fresh off the release of their major label release, Konk. We also found our evening’s most energetic act. Vocalist Luke Pritchard‘s interactions with the crowd, ranging anywhere from intense eye contact all the way to hopping on the amps, were second to none. But, not to be pegged as all show and no sound, The Kooks orchestration was tight. Their set, which was a perfect mix of older tunes and new, was constructed and presented in a concise and efficient manner, supplying Kansas City with a showcase of why The Kooks are quickly climbing to the top of the indie scene’s biggest cult bands. This band does not disappoint. If you haven’t already, you certainly need to check them out.

It is my opinion that Rogue Wave, the lineup’s third performer, had the weakest set of the evening, but that might not be their fault. Based on the extreme showmanship of the bands they were following, and the acoustic setting in which they were playing, I feel that this show was not a great fit for them. I honestly think Rogue Wave would be an amazing band to see in a more intimate setting, like an indoor music theater, something that would enhance their somewhat detailed and atmospheric sound. While I was not impressed with their City Market performance, I really do look forward to catching this band again in a different venue. I’m sure they won’t let me down.

Death Cab for Cutie, the evening’s headlining act, certainly made an effort to not let anyone down. Their set included as many old favorites, like “The Facts Are In and We’re Voting Yes” and “Styrofoam Plates” as well as new radio tracks from Plans and Narrow Stairs. Ben Gibbard‘s uncanny ability to create an environment of happiness and enjoyment through detailed and documented songs of sadness and disappointment is almost amusing. It’s as though the catchy nature of the group’s music overshadows the depressing content of their lyrics. Nonetheless, the set was beautiful and catching, capturing the attention of an audience and generating a unified buzz throughout the Market. Few left following the short intermission, waiting for what would become a fairly long and impressive encore. I was very pleased with the selection of the set and came away from the City Market happy with Death Cab for Cutie’s attention to both its old fans and new.

Overall, I must confess that the night was a success.

The Morning Benders: website | myspace
The Kooks: website | myspace | KONK review
Rogue Wave: website | myspace |
Death Cab for Cutie: website | myspace | Narrow Stairs review

*Photos by Nick Davis and Joshua Hammond