A few months ago we received a call from WYPR, asking us to produce a live set of Future Islands songs for our favorite local arts and culture show, The Signal. The set was to include new arrangements of songs to complement an acoustic show they would be playing at the Metro Gallery.

A couple weeks later, Future Islands packed them in at Metro Gallery and then came to Mobtown to share an incredible session with us. They were joined by Denny Bowen (Double Dagger) on drums, Kate Barutha (Soft Cat) on cello and Devlin Rice on acoustic guitar. After the session, the band was interviewed by Jon Ehrens of The Art Department for the radio piece.

Ultimately, the band and their label, Thrill Jockey, decided to release the songs from the session on 150-gram vinyl in a limited run of 1000 numbered copies. So the band returned to mix it over a period of a few days and then it was mastered by Adam Cooke at Lord Baltimore Studios.

You can listen to the final piece on The Signal here. Clips of the MP3s are available below.

Long Flight

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Little Dreamer

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The rock trio Pontiak, comprised of the brothers Van, Jennings and Lain Carney, have quietly become some of an unstoppable force of late, with a surprisingly prolific output via Thrill Jockey Records, which in the past two years along has yielded four full-length albums and one split LP, 2008’s Kale with likeminded Baltimore pals Arbouretum. But while 2009’s Maker and the vinyl-only tour release Sea Voids were knocked out relatively quickly, their latest album, this year’s Living is the band’s first attempt in a while to slowly, patiently assemble an album over the course of a few months.

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As 2009 came to a close, it became clear that More, the third album by Double Dagger, was one of Baltimore’s most acclaimed albums of the year, on both a local and national level. Unfortunately, I’d been attempting since its release in May to identify the album’s appeal, to no avail. The power trio’s Thrill Jockey debut, recorded in a vacant space above the Current Gallery, is as raw and loud as the band’s popular live shows, but for whatever reason, it took a while for me to warm to it.

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Ultimately, it was the More’s second track, “Vivre Sans Temps Mort” that provided my entry point to appreciating the album, with its slow burn groove stretched out over five minutes in contrast to the album’s faster and shorter songs. But of the latter, the frantic groove of “We Are The Ones” is another highlight, bringing to mind Stay Afraid-era Parts & Labor.

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After “Time Doesn’t Lie,” the towering 9-minute epic that Arbouretum featured on Kale, last year’s split LP with Pontiak, I had high hopes that the Baltimore quartet would more ambitiously lengthy songs on their next full-length. On that front, their third album Song Of The Pearl is a disappointment, in that only one song, “Infinite Corridors,” stretches out past the 6-minute mark with a false ending and a climactic coda. But beyond my own arbitrary expectations, Arbouretum has made a solid and varied album, where the shorter more concise songs are more of a strength than a weakness, and the band’s stellar guitar work is on display as always.

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“Thin Dominion” is one of Song Of The Pearl‘s most immediate standouts by virtue of also being its hardest rocking track, with a heavy groove and rumbling toms. But elsewhere on the album, frontman Dave Heumann expands on the band’s austere aesthetic with warmer, earthier tones and more inviting songwriting, and “Down By The Fall Line” and the title track show a mellower side of Arbouretum. And “Midnight Cry” points toward a whole new direction for the band, with a faster tempo than their usual comfort zone, and a soaring lead guitar line reminiscent of Curt Kirkwood of the Meat Puppets. Still, this album does make me yearn for bolder, longer jams that knock me out as much as “Time Doesn’t Lie.”

The veteran Chicago-based indie label Thrill Jockey has been snapping up Baltimore bands left and right as of late, including Thank You and most recently Double Dagger. And earlier this year, Pontiak made their Thrill Jockey debut in a rather interesting format: a split album with hometown labelmates Arbouretum, released not on CD but on vinyl and via digital release, each band contributing both original material and covers of solo material by John Cale of the Velvet Underground.

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