The It’s Time to Play B-Sides Top 20 Albums of 2023

In 2023, I saw my first “normal” live shows since the lockdown, though I only managed to hit a few and they were all local/regional acts. On April 29th, I saw Dickie/Dick Prall perform at CSPS in Cedar Rapids backed by a string quartet which was really fantastic. Dick’s music tends to adapt well to strings. Cedar Falls artist Joel Sires opened as a duo with Jacob Lampman. I also saw a reunion show for seminal Iowa band House of Large Sizes at The Octopus in Cedar Falls. I hadn’t seen them since I lived in Iowa back in the early 90’s. Considering the age of the band (and the fans, frankly) they put on a fantastic high-energy show complete with Barb jumping up and down. The show was a warm-up for the 80/35 Festival. You can watch the complete performance at 80/35 here. The band that opened for HOLS the night I saw them was 10-Watt Robot from Des Moines with Mike Sangster of The Hollowmen and Head Candy fronting. 10-Watt Robot recorded their debut album at Pachyderm Studios (where Nirvana recorded In Utero) this year and their album should come out in 2024!

I saw Joel Sires a couple more times this year– once was for a live-streamed performance for VUit that I produced (click here to watch) and I also caught him playing a show in the “Art Alley” in Marion, IA with Jacob.

I wouldn’t say that vinyl production returned to normal, but maybe to borrow a phrase from the early COVID times, “a new normal.” Pre-orders were months out, and while that isn’t unusual, most of the preorders I had missed original estimates, and often months from the original estimate. I have resorted to creating a Google spreadsheet that keeps track of my pre-orders so I don’t forget them (and also remember to check on them!). Craft Recordings kicked off a campaign to start reissuing the Original Jazz Classics series from the 80’s. The OJC series was a bargain-priced reissue series of Prestige/Riverside/Contemporary jazz titles. Under its new reboot, these are remastered from tape by Kevin Gray, but are now decidedly NOT discount at $32. I ordered Bill Evans Trio’s Waltz for Debbie and Sunday At The Village Vanguard together to save on shipping in May when they were announced. I received the albums in late December. There was a manufacturing problem with Vanguard apparently which delayed it, and since I ordered them together, Waltz was held up for me. These are gorgeous releases with very heavy Stoughton-style jackets and OBI strips and 180g vinyl. Rather than try to track down originals (or even reissues) this is a great way to build a jazz essentials catalog.

The recurring topic in the vinyl community was the rising prices of new and used vinyl across the board. Most new vinyl was $28-$30 for a single LP in 2023, with multiple LP sets often twice that. Market studies showed the vast majority of new vinyl collecting came from younger collectors who were more interested in collecting the records than actually playing them. This explains the deluge of release variants with different color vinyl and different covers. The most obvious of this are the Taylor Swift “Taylor’s Version” of her Big Machine catalog. This contributed to the clogging of the production of vinyl as well, and I don’t see this changing anytime soon. Some part of this is the increase in cost of manufacturing and distribution, but also I think that the major labels saw the opportunity to “adjust” prices. Lots of counterarguments said that these increases corrected for inflation. Used vinyl looks to be on the upswing in pricing for bigger titles, which is compounded by median pricing reported by discogs. There are still deals to be had, but you have to be diligent.

I finally bit the bullet and joined Vinyl Me Please in 2023. They had a 40% coupon for members and I was very interested in the VMP Anthology release Miles Davis : The Electric Years box set. The member price of the box set was $349, and with the 40% discount, it brought it down to $209, which is a great deal for this beautiful box set, which was mastered by Ryan Smith from the original analog master tapes. The membership for 1 month is $46 and the release for December (when I joined) was VMP’s release of Herbie Hancock’s Sextant, which I didn’t have. $46 is steep for one album, but it is beautiful with a foil-stamped tip-on gatefold with an exclusive photograph and an essay. I considered stopping my membership, but I swapped the record for January (Labelle’s Nightbirds) for Monk’s Music, which I didn’t have an official release of (I had a gray-market one I picked up from Half Price Books years ago).

One big thing for me for 2023 was the purchase of some new gear. I managed to purchase one of the NAD C 3050 LE (limited to 1,972 worldwide). This replaced the circa-1978 Kenwood amp I’d been using for a really long time. I loved it, but it had some issues with the right channel cutting in and out. It probably needs to have the pots or the power switch cleaned on it. Also, I wanted to use a subwoofer in the room, and that amp didn’t have a good way to do that without using an Aux out or trying to loop through a speaker connection. This started me down the path of looking at newer amps and I considered one of the vintage-look Pioneer amps, but I stumbled over a YouTube review of the C 3050 LE and I was sold, I preordered it in 2022 and it took months to get, but it was worth the wait. The C 3050 LE has a phono stage and a dedicated headphone stage, but also can do bluetooth and network/internet streaming via BluOS. I had been using a bluetooth receiver on the old amp, but this amp can stream popular sites like Amazon Music, Spotify, Apple Music, and Sirius XM. You use the BluOS app to chose the streaming site, which makes this amp a lot more flexible as a center of music for the home. NAD has introduced a non-limited edition version of the amp, which is available now. It’s the same except the BluOS card is available separately and the wood box is different.

Now onto the list. Quite a few interesting releases this year– I listened to a lot of new music this year, and looking back I’m reminded of releases that I was hot for a minute on, but then moved on. Writing this list each year ends up being a good exercise in reminding me of releases from earlier in the year. Here are my Top 20 of 2023 (in no particular order).

Neal Francis – Francis Comes Alive – Chicago musician Neal Francis put out a 2 LP live album this year. He brought an 11-piece band to Thalia Hall in Chicago and they filmed the concert as well as multi-track recorded the audio to analog tape. This album shows Francis in his element as a brilliant showman. The resulting album is certainly a callback to important 70’s live albums like Paul McCartney and Wings’ Wings Over America, Little Feat’s Waiting For Columbus and, of course Frampton Comes Alive. The extended workouts of songs like “Sentimental Garbage” with its Pink Floyd-esque extended outro jam is one I play a lot, especially to introduce friends to Neal Francis.

Hiss Golden Messenger – Jump For Joy – Another damn fine album from MC Taylor and company. Characteristically laid back jams with prime vintage vibes. I’ve said it before, but every year that HGM puts an album out is a year they’ll end up on this list. Bonus release: Solo MC Taylor Live from April of this year or Live at EartH Hackney.

Beth Bombara – It All Goes Up – St. Louis musician Beth Bombara was signed by indie record label Black Mesa Records, and It All Goes Up is the first release. The album is a continuation of the arc of brilliant albums from Beth. Most of these songs were written, or started during COVID, so songs like “Lonely Walls” certainly speak to that isolation, but certainly the record is more than just a “COVID album.” My favorite album of hers to date!

William Tyler and the Impossible Truth – Secret Stratosphere – An unexpected live album from William Tyler! A full-band set which includes songs from Tyler’s previous albums, but also a Kraftwerk cover “Radioactive” and a new song “Area Code 601” which is a tribute to 70’s instrumental band Area Code 615. The band includes pedal steel genius Luke Schneider. Schneider was in a post rock band with Tyler called Character in the early 2000’s, so this is kind of a reunion, too! Bonus release: “Darkness, Darkness/ No Services” 12″ collaboration between Tyler and Kieran Hebden.

Elijah McLaughlin Ensemble – III – For Chicago fingerstyle guitarist Elijah McLaughlin’s third release he moved to one of my favorite jazz labels Astral Spirits. On III, we find McLaughlin expanding the tonal palate of his work to include field recordings and new treatments to the cello and some synths. Beautiful album.

Alanna Royale – Trouble Is – For her third album, Alanna Royale took a chance and drove to California during the lockdown to work with R&B and Soul producer and musician Kelly Finnigan. Those sessions included members from Kelly’s band The Monophonics. The resulting album Trouble Is ends up being the perfect marriage– a Monophonics album lead with the dynamic vocals of Royale. A pairing we didn’t know we needed, but WOW, kind of the best of both.

I Think Like Midnight – Microtonal Honkytonk – The Philly instrumental guitar band I Think Like Midnight fronted by Andrew Chalfen started life as a band that’s original stated direction was to record albums in the style of Pell Mell, and to that end they released a lot of music that sounded like it was a continuation of that band. But, over the band’s previous albums, they’ve experimented with different styles and tones, so they’ve released albums that have strayed from that formula. For Microtonal Honkytonk, we hear some of that original sound as the band dips back into a more guitar-focused direction. If you’re a fan of bands like Shadowy Men On A Shadowy Planet, or obviously Pell Mell, that are less surfy guitar instrumental, then this is a band you should check out. I Think Like Midnight is one of my favorite instrumental guitar bands today.

Black Duck – Black Duck Continuing the instrumental guitar theme of this list is Tortoise bass and Bass VI player Doug McCombs’s latest project called Black Duck. Black Duck is a trio with McCombs on bass and guitar, Bill McKay on guitar and Charles Rumback on drums. If you’re familiar with McCombs’s outings in Brokeback, this album sounds like an extension of that work. Gigantic reverb on the guitar coupled with light drumming recalls Tom Verlaine’s Warm and Cool album (an album McCombs openly admits is his favorite).

Sam Prekop and John McEntire – Sons Of – 2023 brought us another unexpected release from the Thrill Jockey stable of bands. Sam Prekop of The Sea and Cake, and solo and John McEntire of The Sea and Cake as well as Tortoise collaborated on an album anchored in analog synths and sequencers. Prekop is known for his recent analog synth works and McEntire brings his love of synths to Tortoise, so the record’s synergy is one that works. McEntire brings the beats to this effort which makes it very expansive and compelling and somewhat Tortoise-like in that regard. Bonus Release: A Yellow Robe Remixes by A Soft Pink Truth who is Drew Daniel of Matmos.

Okonski – MagnoliaSteve Okonski from Durand Jones and the Indications released his first solo album on Colemine Records. The album started out as an instrumental soul record with the idea that these songs would be composed in that manner and recorded. In fact, he released the demos from the initial sessions later in 2023 and the songs seem like break beats similar to El Michels or even kind of like J Dilla’s instrumental breaks. He liked the warmup recordings so much he switched to improvising in the studio resulting in a jazz trio record and one of my very favorite records from 2023. I really love that Terry Cole expanded the genre scope of Colemine Records to include a piano jazz record. I think that Okonski is going to record a new album in 2024. Bonus Release: Trio Session Demos

John Fahey – Proofs & Refutations – Well, I certainly wasn’t expecting a new John Fahey album in 2023! Comprised mostly of an EP put out in 1996 by his manager Dean Blackwood, the album on Drag City collects some “lost” sessions of Fahey’s later career. In addition to some improvised guitar work, there are some spoken works that reveal a fascination with a digital loop pedal. This album is not for the casual fan of John Fahey. It’s on this list because I’m a huge fan of John Fahey. I wrote an article HERE about the album’s history which covers the mid-90’s resurgence in interest of Fahey which led to his later period noise and electric works.

Exploding Star Orchestra – Lightning Dreamers – Exploding Star Orchestra is one of the many projects led by jazz trumpet player Rob Mazurek (Chicago Underground Duo/Trio, Isotope 217). Mazurek more than any other jazz musician carries the mantle of the Chicago Jazz Improvisation legacy first established by the Art Ensemble of Chicago in the mid-60’s. Lightning Dreamers brings back many of Mazurek’s regulars including Tortoise guitarist Jeff Parker and Nicole Mitchell. It picks up where the band’s 2020 album Dimensional Stardust left off. Funky and angular, this album shows what jazz can be in the 2020’s incorporating sounds and textures of our times.

Subatlantic – Say It Again – Quad Cities band Subatlantic released their sophomore album in 2023. This album was the result of some woodshedding done in a cabin in 2022 by the band. The album has a kind of theme around interpersonal conflicts that clearly Rebecca Rice wanted to get off her chest. Happy that this album and their last album Villians are both on vinyl. Subatlantic albums are best consumed in a vinyl listening session, in my opinion. You can read my review of Say It Again for Little Village Magazine HERE.

DeYarmond Edison – EPOCHThis massive box set encompasses the brief but intense period of creativity of a band moving from nascent post-high school hopefuls in Eau Claire, WI to wildly unbounded Americana band in Raleigh, NC. The band is normally a footnote in the careers of Justin Vernon as Bon Iver (whose middle names comprise the band name) and the Cook brothers, Phil and Brad and Joe Westerlund who would become another brilliant but sadly overlooked band Megafaun. Phil Cook has his own solo career these days and is also a go-to producer and sideman. Brad Cook is the manager of Hiss Golden Messenger. Westerlund has found success as a solo musician as well as contributor to bands like Califone. This box is an incredible undertaking, digging out lost recordings from the band as well as the legendary Hazeltons solo album which marked the end of DeYarmond Edison and foretold the beginning of Emma, Forever Ago. It’s a massive, sprawling box which taken in whole tells the story of the band.

Jared Mattson – Peanut – Jared is one of the Mattson twins that make up the band The Mattson 2. Peanut is the first solo record from either of them. Peanut is mostly sung in Japanese– a language picked up while touring the country often as The Mattson 2. The album is not really much of a departure from The Mattson 2’s breezy West Coast sound which draws easy comparisons to The Sea and Cake and Toro y Moi (whom they’ve worked with).

Toro y Moi – Sandhills EP – Speaking of Mr. Chaz Bear/Toro y Moi, he put out an EP of quietly acoustic music this year. This 14-minute release is a tribute to his hometown of Columbia, SC. It draws comparisons to Sufjan Stevens or Elliott Smith. Beautiful record. The EP has an etched side B that also has a short track of field recordings.

James Elkington – Me NeitherJames Elkington seems to be a sideman on a lot of albums I listen to from bands out of Chicago. It helps that his groups are all related to Thrill Jockey– Eleventh Dream Day, Brokeback, and Freakwater. But, his solo works are also fantastic– his moody baritone vocals are some of my favorites starting in his band The Zincs and moving to his duo with Janet Beveridge Bean in The Horses Ha (one of my early reviews is HERE) as well as his solo albums on Paradise of Bachelors. Me Neither is a 2 LP compilation of instrumental guitar sketches and is a great album to have on in the background or while driving for me.

Ratboys – The Window – Even though Chicago band Ratboys has been recording for over 10 years, I had only come across them this year. Fronted by the high soprano vocals of Julia Steiner, the band has a kind of twee sound that recalls 90’s acts like Juliana Hatfield. Really great punky pop.

Bob Martin – Seabrook – A lot has been said about Bob Martin elsewhere, but the short story is that he recorded a brilliant debut record called Midwest Farm Disaster in 1972 for RCA Nashville, but it wallowed in obscurity due to management changes at the label, as well as a change in focus to rock by RCA overall. Bob continued to record music up until his death in 2022. His final album Seabrook was produced by Jerry David DeCicca (of The Black Swans and solo). DeCicca had approached Martin about the possibility of reissuing Midwest Farm Disaster a while ago and struck up a friendship that resulted in his involvement in the final album. A bittersweet release, it is an album of reflection and a wonderful last work from Martin. Bonus Release: DeCicca released an album this year as well!

Dave Helmer – Such A Clown – Dave Helmer’s primary focus since 2014 has been his band Crystal City, which also includes his wife Sam Drella. They released a three great albums as Crystal City, with 2019’s Three-Dimensionality being one of my favorite local releases in recent history. Dave’s rough and ragged vocal delivery I compared to Paul Westerberg in my Little Village review of that album. So, it was somewhat surprising that he decided to release an album under his own name. I suspect it was mostly a factor of trying a different band or maybe the ability to focus the songs in a more personal direction. Crystal City seems more like a “we” band whereas the songs on Such a Clown are more “me” focused. Whatever the reason is, the songs are fantastic and don’t really stray too far from the guitar punch of Crystal City.

(Upcoming Release) Antibalas – Who Is This America? Reissued on 8/17

I became aware of Antibalas around the time that I was working on a review of the very cool Scion Daptone Records Remixed compilation where I mentioned that Ticklah who is credited with the remix of “How Long Do I Have to Wait” by Sharon Jones and the Dap-Kings, is David Axelrod who, among other things, has been a member of the Brooklyn, NY Afrobeat and funk ensemble since 1999.

Antibalas was formed in 1998 and modeled after Fela Kuti’s Africa 70 band and continues to maintain connections with members of Fela’s bands. In 2008 the band was involved in the off-Broadway and on-Broadway musical of Fela’s life titled Fela! The musical is based on the events of his life and particularly his politically motivated music career and oppression from the Nigerian government.

Antibalas’s influence from Fela Kuti extends further than just their afrobeat style, they also choose to make their music the platform for sharing their political views. No where is this more evident than their third album Who Is This America? which was released in 2004 on Ropeadope records. The band and label felt that their political and social statements on the album are as relevant today as they were during the Bush-era, post 9/11 period they were conceived in.

The re-issue of Who Is This America? will be on CD and digital download with a new bonus track “Money Talks” and with an iTunes-only track “Paz.” Notably, Ropadope is choosing not to release this album on vinyl. As luck would have it, Daptone Records released a vinyl version back in 2004 that seems to still be available on their site for $20 and has the “running man” cover artwork. Daptone also has Antibalas’s 2007 Anti- Records release Security on vinyl as well. Security was produced by John McEntire of Tortoise, incidentally. Ropeadope will have a special edition package that includes the CD, a download and a reprint of the “Running Man” teeshirt ($27.99). You can get just the teeshirt, too.

Click Here to download “Big Man” from Who Is This America?

Click Here to pre-order Who Is This America? from Ropadope.

Click Here to order the original (no bonus tracks) Who Is This America? 2 LP from Daptone.

Click Here for the Antibalas website.

Click Here for the Antibalas MySpace Page

Click Here for the Antibalas Facebook Fan Page

Upcoming Release : “Old Punch Card” by Sam Prekop; Sea & Cake Tour Dates

If you’re interested in early information about Thrill Jockey releases you need to look no further than the Thrill Jockey website itself! Last week I was doing some research on a couple of upcoming releases on the label and stumbled upon the upcoming solo release from Sea & Cake frontman Sam Prekop! Titled Old Punch Card it will be an experimental instrumental electronic release. I have confirmed with Thrill Jockey that this will be released on Septemer 7th on vinyl as well as CD and download. Each of the covers for the CD and LP will be individually painted by Sam. The cover art you see above is effectively the canvas. Here are some examples of what the covers will look like:

Sam’s last release in the Fall of 2007 was also a disc of electronic instrumentals. It was bundled with his book of photographs.

Tracklisting for Old Punch Card (from thrilljockey.com)

01 Old Punch Card
02 Array Wicket
03 Knitting Needles
04 Brambles
05 Tell Work
06 November September
07 A Places
08 Lazy House
09 The Silhouettes

Sam’s band The Sea & Cake will also be going on tour around the time of this release in support of Broken Social Scene. I wonder if the Sea & Cake is gearing up for an eventual new record? John McEntire–  who is the drummer for The Sea & Cake– produced Broken Social Scene’s new album Forgiveness Rock Record.

The Sea & Cake Fall Tour Dates in Support of Broken Social Scene (from Thrill Jockey):
Mon Sep 13 Washington, DC – Warner Theatre w/ Broken Social Scene
Tue Sep 14 Philadelphia, PA – Theater of Living Arts w/ Broken Social Scene
Fri Sep 17 Boston, MA – House of Blues w/ Broken Social Scene
Sat Sep 18 New York, NY – Rumsey Playfield w/ Broken Social Scene
Mon Sep 20 New Haven, CT – Toads Place w/ Broken Social Scene
Tue Sep 21 Northampton, MA – Calvin Theatre w/ Broken Social Scene
Wed Sep 22 South Burlington, VT – Higher Ground w/ Broken Social Scene
Fri Sep 24 Ithaca, NY – Historic Ithaca State Theatre w/ Broken Social Scene
Sat Sep 25 Buffalo, NY – Town Ballroom w/ Broken Social Scene
Sun Oct 3 Milwaukee, WI – Pabst Theatre w/ Broken Social Scene
Mon Oct 4 Minneapolis, MN – First Avenue w/ Broken Social Scene
Wed Oct 6 Winnipeg, MB – Burton Cummings Theatre w/ Broken Social Scene
Thu Oct 7 Saskatoon, SK – The Odeon Events Centre w/ Broken Social Scene
Fri Oct 8 Calgary, AB – Macewan Hall w/ Broken Social Scene
Sat Oct 9 Edmonton, AB – Winspear Centre w/ Broken Social Scene
Sun Oct 10 Kelowna, BC – Kelowna Community Theatre w/ Broken Social Scene
Tue Oct 12 Victoria, BC – Element Nightclub w/ Broken Social Scene
Wed Oct 13 Vancouver, BC – Commodore Ballroom w/ Broken Social Scene
Thu Oct 14 Vancouver, BC – Commodore Ballroom w/ Broken Social Scene
Fri Oct 15 Seattle, WA – Paramount Ballroom w/ Broken Social Scene
Sat Oct 16 Portland, OR – Crystal Ballroom w/ Broken Social Scene
Tue Oct 19 Los Angeles, CA – Wiltern Theatre w/ Broken Social Scene

Click Here to visit the Thrill Jockey page on Old Punch Card which will be updated with streaming tracks and pre-order information closer to the release date.

A Trip through ILAD’s Here//There (Review)

Richmond, VA quartet ILAD had released two albums before I had heard of them. Their second album National Flags— released in 2007– was recorded at Soma Studios in Chicago and produced by John McEntire of Tortoise and The Sea and Cake.

In an interview with RVA Magazine, singer/guitarist Clifton McDaniel said that they wanted to work with McEntire because they felt a connection with the Chicago scene. In fact, their brand of country folk psychedelics reminds me a lot of Califone, so the affinity for experimentation and working with sonic textures makes sense. Clifton went on to say that after they recorded National Flags and handing the reins of production over, they decided that they wanted to take a different approach with Here//There, their new album which was released on July 28th, again on the band’s own label SYJIP Records. Some of this change in direction lies in a pride in being part of the growing Richmond, VA music scene which I think motivated ILAD to record with local producer Lance Koehler and studio at Minimum Wage Studios.

Listening to National Flags and Here//There side-by-side shows that National Flags has a more cohesive feel to it– certainly the sign of the band turning itself over to McEntire. Here//There seems to show the ILAD’s ability to transform itself for each song. Ultimately this makes for a difficult sitting with the album if you’re looking for a record that has one mood or feel to it.

The band has an impressive array of styles to draw from and I bet a live show from them would be quite an experience. I will say that they did a good job of sequencing and mastering this record because even though they shift stylistically throughout– it isn’t jarring.

Here//There kicks off with an Eastern-influenced “TV Sutra” that reminds me of a raga. Layered percussion and persistent shaker and dreamy almost stream of consciousness lyrics cover long-distance voices. “We’re All Boiled Over” is the mantra. A very smooth complimentary seque to “Conservation” is accomplished by arpeggio-picked guitar in the same beat as the previous song.  The 4/4 beat that is introduced here which sets us up for the swirling and driving “Magazine.” The vocals are distorted and urgent with the only recognizable phrase being “Jesus Christ.”

Once we’ve hit the loping “Mexico” we’ve moved into the most conventional part of the album. “We’d all go down to Mexico where the women taste like wine, bathe in sunshine, drunk with hope” the song starts.  The song has an aching beauty to it that reminds me a bit of the best songs from My Morning Jacket– but not content with the direction of the song, ILAD at 3:50 or so decides to send the song into a Doors-like jam led with electric piano and nature sounds that carries the song to its 6+ minute conclusion with a fade out.

At this point we are propelled into the driving possessive and pissed-off rant fueled with slide-guitar and shuffle that is “Blackgold.” “Please don’t call me liar– asshole! Please don’t call me liar– asshole!” I don’t presume to know who the narrator is, but clearly his lady has been infringed upon and he’s retaliating with guitar and drums!

But, the anger doesn’t last long as we drop into the floating “I Just Stopped By” with its percussion and guitar lifted deftly from “Over My Head” by Fleetwood Mac. Indeed the song itself echoes its sentiment of “I’m just passing through” as it is a momentary stop before it hits the very proggish and climbing instrumental “Wish For a Flood” which provides the complimentary beat to the following song “Lou Dobbs.”

“Lou Dobbs” kicks off with an interesting driving snare and cymbal that reminds me a bit of “Gotta Jibboo” by Phish but never really delivers on the anticipated crescendo and in fact just falls apart at the end. The lyrics seem to be making a statement about government fueled war, but does nothing but make a weak and unsubstantiated accusation.

We are given another great prog track at the beginning of “I’m Not Mean”– I realize at this song what a great drummer Scott Clark is, and it’s his ability to be amazingly diverse that provides the framework and backbone to the explorations ILAD undertakes. I love the transition “I’m Not Mean” makes at the 2:28 mark. The song switches completely into a jazz workout that is one of the glimmering, unexpected and transcendent parts of the record.

From here we’re moved to a  stripped-down, vocal-and-acoustic guitar arrangement in “Everyone Hurts (Everyone). The slightly off tune delivery helps deliver the song’s plaintive meditation– “I can’t tell whose side I’m on anymore.”

This mournful emotion is followed by “Extraordinary Machine” with the opening slightly above a whisper mantra where every line ends with “ary.” “Nature is so imaginary/nature’s so imaginary/machine so extrodinary/, etc.” At two minutes the snare kicks in and helps drive the song, and a 2:43 we get kind of a disco 8’s on the highhat with slinky bass and shimmery electric piano mellow groove. The song doesn’t really ever change keys or even switch in sections– it just builds off the previous one. Around 4:30 that groove breaks and reveals a snippet of a different song with its refrain “I’m coming home.”

“Everybody” is another song that rides a single groove throughout its four minutes. It’s almost a transitional song to get us to “Tiny Dream.” “Tiny Dream” is another chanting song with organ and picked guitar riding on a funky-drummer beat providing a pleasant groove, that builds to a “Bittersweet Symphony-ish” string crescendo. It’s over in a 2:32– I would have liked to hear that song explored a bit further.

The album closer “Church” is a stripped down slow tempo gospel-of-sorts that presents a reflective message to wrap things up. Whoever is singing this song reminds me of Daniel Ash of Love and Rockets a bit on this one.

Taken in total, Here//There is– to coin a cliché– a musical journey. I wouldn’t go so far as to suggest that this album is a concept album, but all of the songs seem to make more sense in the context of the other songs. It is an album that really demands consuming in one sitting. I can see the challenge the band would have promoting this album in that no one song on the album is really representative of the rest of it.

It sounds like the Richmond, Virginia area is rich with a growing music scene that is trying to make its mark. ILAD shows the DIY attitude of the area and the potential it has. I think ILAD is a band to continue to watch and based on the performances I’ve seen online so far, delivers a great live show and one I’d like to catch if they make it this far inland.

Click Here for ILAD’s website

Click Here for ILAD’s MySpace page

Click Here to listen to “Magazine” from Here//There

Here is the video for “Tiny Dream”