The Elusive Lushness Of Banjo Or Freakout

Im not sure what made me ignore Banjo Or Freakout for as long as I have. It certainly wasnt a conscious decision - there was even a couple gigs where I spotted the name and thought "I should really check that guy out" - but never did. But then I inadvertently heard '105', the opening track off the Italian-born Londoner's self-titled debut (his real name is Alessio Natalizia). I think it was on Stereogum? Anyway, I heard it, and was sucked in by the warmth and sweetness to it. Sparse beats give the song a lilting feel, with guitars filling out the rest of the rhythm pattern and soft, faraway vocals. The album follows in a similar vein - an ambient pop album. There are influences smattered throughout - Deerhunter, Electric Light Parade, Radiohead, doo wop - and some of the tracks could do with some tightening. But I dunno - this really resonates with me, especially after several concerted listenings. I know in the past month Ive spoken about drone and psych albums being a full album experience - well, Banjo Or Freakout is a full album experience. But this is much more accessible - beautiful atmospherics, textured melodies, and Natalizia's gushy vocals, an understudy to Bradford Cox. This is a lushly created album, with some classic songs. Just don the headphones and drift away, the slimmest of smiles on your face, and you will find yourself considerably indulged.

Banjo Or Freakout is out now. You may have missed him in London earlier this month - but dont worry he lives here, he'll be back! In the meantime the US will be graced with his understated presence - touring the country with Papercuts in March/April.

Banjo Or Freakout - 105
Banjo Or Freakout - Dear Me

These Paper Cuts Don't Fade Away

Sometimes it takes a "right place-right time" type situation before someone can get their sound (or shit) together. The National had to wait til their brilliant fourth album Alligator before the plaudits trickled in, and its was another two before they climbed onto mainstream festival stages.
For Jason Quever, the San Fransiscan that calls himself Papercuts, four could be the lucky number also - his latest album, Falling Parades (his first on Sub Pop), is a lyrical, windswept gem of dreamy, spangly guitar pop.

Whilst his music has garnered praise in the past, and he has had an impressive support slot tally - playing with the likes of Grizzly Bear, Camera Obscura and Beach House - two things seem to have fallen in place here. Its the production values that really ramp up the warmth inherent in these tunes (thanks Sub Pop), and the wavering beauty that the melodies create are brought together more succinctly, if still somewhat hazy (thanks close friends Beach House). These things have allowed Quaver to expand on his dream pop meanderings, whilst also crafting songs that are concise and more complete than in past offerings. 'Marie Says You've Changed' has an, almost marching band like coda at its end; 'Winter Daze' takes a colder hue to its dreamlike canvas, the brushed drums and minimalist piano offering heartbreak between the spaces as well as swelling within the sounds. And above all, Quever soars, his lyrics as elegiac and melancholic as you could expect - but there is something refreshing in his search for the subtleties that lie inherent in what makes a pop song tick. These songs wont bludgeon into sugary submission; rather they will caress you, lull you away from you preconceptions and lure you into the hazy night, never to return...

Falling Parades is out on March 1st.

Papercuts - Do You Really Wanna Know
Papercuts - Winter Daze