In Dreams, Akira Kurosawa creates a tapestry of emotions and artistic wonderment with his breathtaking visual recreation of dreams that had haunted him throughout different stages of his life. If Kurosawa were alive today and decided to rescore his vision with shoegazey experimental down-tempo electronica mixed with some indie pop, Ravens and Vultures' Last Love would probably be its soundtrack. The album possesses a dichotomic nature as it struggles with love and hate, life and death, and shadow and light while remaining masked in its ethereality, danceable beats and edgy guitar work.

The band's opening track "Willow" is a good example of the contrasting duality represented in their music. An instantly engaging song with a soothing blend of vocals that sucks you into their dreamy world invoking hallucinations of a sailor on his/her final trip home to see an awaiting love, but in the world of Ravens and Vultures, a tranquil voyage can be abruptly interrupted by what sounds like an alien invasion leaving you confused with images of love lost to watery graves. The following track, "fistwinterbeta," continues the sonic adventure with sparse computer bleeps joined by soaring guitar lines, shimmering keys, breakbeats and what sounds like an accordion which surprisingly creates something even more interesting than the title of the song. It peaks and slowly dismantles to the simple electronic noises that began the journey. However, the album does stray from its atmospheric post rock path with songs like "Crickets Sing for You" where they bring in an acoustic guitar with full vocal tracks and "Longway to the Sea" with its frenetic keyboard, reggae bass line and chorus that sounds like a psychedelic sing-a-long with a cult of demented munchkins. "Falcon Hunting" is also another noteworthy track that I'd like to mention. It's one of my favorite compositions on the album with its swirling delay loops and chasing guitar lines.

While some may complain that Last Love's repetitive themes may render some of its songs indistinguishable, I find it to be a delightfully cohesive piece of work that would be perfect to put on repeat if you were taking a cross-country road trip or just laying around on a leisurely day with your favorite psychedelics. Whatever strikes your fancy, I highly recommend Last Love for your collection. You'll also have the rare opportunity to catch Ravens and Vultures live this month opening the kickoff to The Deli Magazine Philadelphia's The Tunes Whiz Wit Series, a live music concert series that showcases emerging artists in our beloved Philly area music scene, on Thurs. January 29th at Johnny Brenda's. - Q.D. Tran - website

Chris Schutz is a very ambitious musician. He's been all over the country sharing his gift of music with those who are willing to listen. Off his most recent tour, he decided to get in the studio and flesh out some of his newest material, which has culminated into his latest release, "Gemini". Upon dissection of the title, which means "twins", I've come up with a possible theory behind it. The record shows two sides of Chris's musical personality, "twin" personalities perhaps. One side shows a love for gritty country alt-rock, while the other croons like a weathered folk veteran. You can tell from his cigarette smoke growl and use of the acoustic guitar as the pivotal instrument that he's seen many an open mic in numerous bars and coffee shops. "Gemini" gives you a diverse collection of songs without sounding like a mix tape. No matter what genre Schutz is tapping into, his dynamic voice sells you on the song without questioning the authenticity of it.
The opening track, "White Lady", sets the tone of the record in a spacey alt-country backdrop, with Beatle-esque vocal harmonies rounding out the overall sound of the song. Crisp lead guitar lines and a catchy bridge keep this song on track. Changing gears, "Spinning Wheel" gets your foot tapping with a fast paced power pop pulse blanketed with a retro organ sound. Quickly you realize that this will not be a wandering, experimental record. Strong vocal arrangements and pop-sensible melodies are common themes throughout, regardless of what genre is being showcased. "Stranger" is approached more in a singer-songwriter style. Bright acoustic guitar and a soulful melody are the backbone of this song, with minimal accompaniment behind it. The female vocal harmonies tastefully add another layer without taking you out of the coffee shop. "Livin' on Yer Own" picks up the pace with an infectious REM-style 80's groove with an acoustic edge. It's damn near impossible to not sing the "on yer own" refrain during the choruses. Schutz brings out the country twang for "I Know that Shit Ain't Right", pulled straight out of an early 70's Rolling Stones catalogue. The tongue-and-cheek lyrics give some comic relief while adhering to the overall feel of the album. Playing music is supposed to be fun, and this shows that Schutz doesn't take himself too seriously.
Overall, "Gemini" keeps a concise path without having every song sound almost indistinguishable. Although the pace is a little erratic, it still flows enough to keep your attention throughout. If you're looking for a stocking stuffer or just something to take your mind off the grueling holiday traffic you will inevitably face, I recommend you pick up this record. myspace.com/touristsmusic - website - A. Zielinski

Lightning Bug's new self-titled release is a luminous tribute to Pennsylvania's official state insect. These five friends from Skidmore College tell stories of traveling, restless energy, young love, and friendship, which all characterize the endless summer nights inhabited by their glowing winged namesake. The background banter and laughter leading into the first track makes an accurate opening statement for the album: this is going to be fun. Danceable rhythms and singable oohhhs follow in "All Good Sinners", which is an anthem for choosing lust over virtue (how can loving be a sin tonight?). The Modest Mouse-influenced "Two Headed Beast" and melodica-driven "Baby Blue and Stella Dependently Arising" showcase Lightning Bug's colorfully textured arrangements and ability to craft a unique atmosphere within each song. The onward lyrics and infectious synth and drum groove in "Airborne Bear" make it an essential for road trips (watch the horizon/acceleration/lift achieved liberation/ destination), leading into the Weezer-inspired homecoming, "Tiny Machine Fingers" (my friends I will see you again). "The human anvil" is defined on the album's inside cover as a place within each person where rules do not apply, which is the essence of Lightning Bug’s music: use a variety of sounds, melodies, dynamics, and reprises to engage the listener rather than the time-tested formula of verse/chorus/verse. But to really understand why Lightning Bug is creating a buzz in Philadelphia, catch them live (or in a jar) this week: Wednesday, October 22 at O.N.E and Friday, October 24 at M Room. For more information visit their website – Jaime Pannone