Magic Man
Magic Man is too good to be true. I found this band after clicking the ‘electronica‘ tag on bandcamp, that’s all. Since then, I’ve seen them listed on countless blogs and websites as having the best free album of 2010, so you don’t have to take my word for it, but indulge me.
Magic Man reminds me a little of The Postal Service, perhaps because I know that both bands are the work of a producer and singer/songwriter duo, and perhaps because American nerdy guys all sing the same (jokes), though it’s more likely the way they utilise beautiful synth swells and wonderfully intense drum patterns. But while TPS tend towards a mellow, spacious sound, Magic Man are in the business of making ‘relentless joy’.
Their album is called Real Life Color and, you know what, there is no better name for it. At the heart of this record is a sense of warmth and actual, tangible excitment, which you can’t help but become infected by. They mix vintage sounds and wacky vocal processing, traditional song structures and charming instrumental breaks, some pounding drum beats and skittish synth solos, and it all comes together to create a delightfully cohesive sound which exceeds your best expectations.
Get it free! from bandcamp, or via the arcade sound website, and check out their myspace and last.fm pages too.
Zut Alors
From the little I know about the current status of this band, I gather that ‘it’s complicated’. However, after Aaron Kelly (not the American one) blogged some Zut demos on tumblr, I hinted that I was trying to get hold of their EP (which I was), and he kindly emailed me a copy.
I first heard these guys on Muxtape (surprise surprise) after some girl writing twitter reviews compared the vocals to Morrissey and Chris Martin. Way to expose yourself as an American, lady: a shared Britishness is about as much similarity as you’ll find between the three. (Having said that, I’m prepared to admit that there are hints of Chris Martin in the voice of every English man-boy singing through the 00′s, self included).
In terms of Britishness, though, the Torr EP is the perfect guitar-driven pop record: interesting without being aloof, fun without being naïve, melancholy without being miserable. Uncomplicated guitar riffs provide bite, while the momentum of the songs comes from the wonderfully crafted drum layers and driving basslines. Zut Alors have not been afraid to play around with panning, processing, breaking down and building back up their rhythm section, which provides a pleasant depth and texture that is simply not often found in the music of most indie/guitar bands.
Atop this shuddering backdrop of rhythm, we find a luscious selection of synths, glocks and pianos, blending seamlessly into a wash of clean noise where many would opt for pointless layers of power-chords. When I said before that the Zut guitar work is uncomplicated, I meant it as a compliment: well-placed, thoughtful and melodic riffs that weave in and out between verses and choruses, provide the perfect catalyst for rising and falling dynamics.
These songs feel like a true celebration of sound: soaring choruses that you will find yourself singing along to, brilliant textural arrangements, and a deliciously full sonic palette. Also, something I am particularly partial to, they use falsetto to great effect (Coldplay!), including some lovely backing ‘oohs’ and harmonies. Winner!
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