Craig Wedren, WAND

By Ben Sullivan

Craig Wedren has patiently, tastefully, and with seeming ease produced one of this year’s strongest albums in WAND, and I’d like to dispense with any scant appeals to critical distance or reportorial objectivity and simply enthuse about it.

In our cultural moment of diminishing attention and mile-long listening queues, WAND‘s 16 songs have me enthralled and inspired (and my last.fm account will testify to this). From the ringing Andrew Bird-isms of “Fall In” to the liminal bedroom contours of “Lady Ghost” and all points in between, I have retraced the album’s swift 48 minutes from their immediate impact—like hearing Wedren’s importunate falsetto for the first time—to the warm blanket of familiarity.
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Oh Hamburgers: Thoughts On South Park‘s 15-Year Run

By Ben Sullivan

Few serialized forms of entertainment—let alone television shows—have been so defined by an overt enthusiasm to piss off all elements of their viewing audience as South Park. Presaging the Adult Swim grotesque and Seth McFarland’s ribald flippancy, South Park tossed its cavalier line into every cultural imbroglio, national hypocrisy, or simple question of taste at hand. From paparazzi to PETA to NAMBLA, from hybrid drivers to iPad users to country music listeners, from liberals to conservatives to just about any A, B, or C-list celeb caught in the compromises of fame and exposure, South Park‘s defamatory fangs have never wanted for fresh meat.

Reluctantly passing the torch . . .
even if they both agree on Family Guy.

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K-X-P, S/T

By Ben Sullivan

In our current cultural moment of sonic permissiveness and fraying mainstream consensus, instrumental rock is no longer ghettoized to the skinny aisles of sub-genre. Prog is no longer a four letter word; electronic/rock hybrids are old hat. Even when the guitar is de-emphasized à la Out Hud—or completely absent, as with Add (N) to (X)—vocal-light bands specializing in sturdy rock grooves now enjoy growing audiences and heightened festival appeal.

That being said, the ubiquity of the guitar and the immediacy of its musical heritage still pay dividends. The six-stringers in Battles can still reliably benefit from stage-side guitar-nerds slobbering over their nervy chops. Post-rockers Mogwai and Explosions in the Sky have proven accessible enough for big-budget soundtrack work. So: whither the synthesizer in the expanding landscape of post-pop?

K-X-P’s synth-centric self-titled debut is redoubtably Teutonic. Driving, unfettered motorik grooves undergird a tasteful array of analog modules bubbling, reverberating, and panning towards dawn. Founder and lead wavesmith Timo Kaukolampi manages the density of his arrangements skillfully and with rockist panache, patiently staging his modulations over the insinuating groove of “Mehu Moments.” Kaukolampi expertly samples (and simulates) a gate-reverb-drenched guitar in “18 Hours (Of Love),” a credible club rave-up caught somewhere between Depeche Mode’s shuffle grooves and Alan Vega’s solo output.
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A Fortnight In The Tower Of Song: Leonard Cohen And The Creative Life

By Ben Sullivan

When my mother approached me with two tickets to Leonard Cohen’s first-ever performance in Columbus, Ohio as a present for my thirtieth birthday, the extent of my familiarity with the man was a much-loved copy of Songs of Leonard Cohen I happily stumbled across a few years back, as an initiate to the pleasures of record shopping.

Outside of the debut, I’d heard a handful of the seemingly countless Cohen covers. And then there was the copy of Songs of. . . I gifted to an ex-girlfriend (which, for shame, subsequently melted in the backseat of her Accord). My enthusiasm for the concert wasn’t predicated on long hours spent under his spell, but rather for the opportunity to sink into his work and discover the tics, irregularities, and strengths of an enduring voice.
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