Fol Chen, Aim Low Kid, Jhameel

Description

"Fol Chen distinguish themselves during John Shade's midsection with some seriously percussive production. "Red Skies Over Garden City (The Ballad of Donna Donna)" tumbles out of the court of King Crimson with cavernous drum patterns, while "Winter, That's All" manages a stomp-the-yard drumline mixed with rave keyboards. But if you're gonna pick a breakout single from John Shade, your best bet is "Cable TV". It's lyrical idea is cliché, but there's a certain sense of slink (if not necessarily sexiness) that recalls, I dunno, Bran Van 3000 or any number of late-1990s one-offs-- its "Killing Me Softly"-style sitar drop is just dorky enough to be kinda loveable." - Pitchfork

You could blame the fact that I'd just finished watching I Am Trying to Break Your Heart, the excellent Sam Jones documentary about a certain seminal Wilco album, right before cracking open the laptop and attempting to wax poetic about Aim Low Kid. Regardless, the hints of noisy, rootsy folk rock that make up "Couple Dozen People," the track that fully opens the band's Soundtrack for the New Depression after a 40-second instrumental ditty, make for apt comparison to the groundbreaking and influential alt-country Yankee Hotel Foxtrot.
Not that we should mistake Aim Low Kid simply as just another band that kinda-sorta sounds like Wilco (or Pavement, or the Meat Puppets, or so on); on the contrary, Soundtrack for the New Depression marks the band's efforts as true to their influences while remaining inherently original and experimental. The tracks that make up Soundtrack are peppered with scratchy hooks, electric/acoustic textures, and intense violin licks that color the album with shades of folk, rock, noir, jam, and reverb that both excite and challenge the ears. And of all the unique qualities present on Soundtrack, it's the violin that expertly leads the way – follow the violin, and you'll find yourself at the end of a rather obscure and truly enjoyable journey.
- Anna Gazdowicz

Jhameel presents a blend of orchestral instruments, makeshift percussion, pop vocal melodies, and ambient synthesizers that creates an unfamiliar yet warm atmosphere.
From sounds like the splash of water and the collision of silverware in "Opium and the Royal Children," to the violin and cello ensemble comprising the eerie timbre of "Child-bearer," or the grandiose mix of electronic drums and live strings in "Tower of Babel," his music proves eclectic, refreshing, and catchy.
The lyrics, which are as delicate and complex as the sound, revolve around such topics as Middle Eastern womanhood, homosexuality, and urban prostitution, giving voice to the silent margins of society.
At live performances, Jhameel utilizes violin, trumpet, glockenspiel, percussion, guitar, and vocals to create intricate arrangements. In order to perform multiple instruments at once, he records musical phrases on-stage using a loop station. He then adds more layers to the songs by playing over himself, creating a surprisingly full sounding ensemble.

More Info

Link

http://www.bottomofthehill.com/0710.html