Cymbals Eat Guitars “Why There Are Mountains”
2.5 out of 5

When I saw CEG play at Pitchfork Music Festival last weekend, frontman Joseph D’Agostino’s first words were “Wow, there are a lot of you” as he gazed out into the crowd. The sentiment was appropriate, as the quartet has earned the attention of indie fans very suddenly, primarily behind the tag of “Best New Music” from the aforementioned Pitchfork.

While attending high school in New Jersey (they all graduated in 2006) it seems they listened to a good amount of guitar-driven indie rock; Built to Spill, Modest Mouse, and Stephen Malkmus have all left their imprints on this LP. It all works out to a 9-song debut that goes through its share of twists and turns. “And the Hazy Sea” and “Share” go on for over six minutes with plenty of noisy explosions and quieter stretches, the former serving as an appropriate (if long-winded) introduction to the album. “Some Trees” and “The Living North” work as two-and-a-half-minute bursts of energy at opposite ends of the duration. The melodic highlight comes at track 3, as “Indiana” breezes along for perhaps the record’s most appealing 3 minutes and 34 seconds.

“Mountains” makes it clear that CEG aren’t out to reinvent indie rock; at this early juncture in their careers, these Jersey boys are content in adding their own touches to some of the genre’s most recognizable sounds.

Key Track: “Indiana”

YACHT “See Mystery Lights”
3 out of 5

2009 could be the start of big things for the electronic outfit known as YACHT. Jona Bechtolt’s longtime project signed to DFA in 2008, and introduced Claire Evans as a prominent member. “See Mystery Lights” is an eclectic journey whose mission seems to be to make the listener want to dance… and think, preferably at the same time.

The idea of an afterlife serves as a recurring muse for Bechtolt, who attempts to tear down traditional ideas of “heaven”, “hell” and “Earthly possessions” through looped electronic blips and synthesized drumbeats. The record’s first three tracks: “Ring the Bell,” “The Afterlife,” and “In Love With a Ripper” all work along that formula as potential singles. “It’s Boring/You Can Live Anywhere” is an oddball 8-minute track that bridges the album to “Psychic City”, Evans’ greatest vocal contribution and the album’s true standout (more on it in a future “Songs of the Month post?) Track 6, “Summer Song” is a sturdy dance-punk number, but sadly marks the end of the record’s succession of notable tracks. Tracks 7 and 8 are throw-aways, track 9 is a remix, and track 10 is an odd reprise of “Psychic City.” The good part? Tracks 1-6 are good enough to make this record worthwhile, side two failures notwithstanding.

On a side note, the duo worships triangles and passes around pamphlets on the topic at their shows. Out of their minds? Quite possibly. Breakout record? Definitely.

Key Tracks: “Psychic City,” “The Afterlife”