WK37 - Real Estate - Real Estate (7.5)

Released - Woodsist

Label - 11/17/09

BLURB - I bought this thinking Real Estate could possibly be the next Thrills. Short story - I'm a huge fan of The Thrills and met the singer in a shitty diner in Philadelphia prior to a show they had, opening for Adam Green. It goes down as one of my favorite nights of my life because I was there with one of my best friends, his mom and his sister. Anyway, here we have yet another Beach Boys influenced act trying to reincarnate the genius of Brian Wilson. I was kind of hoping for a bit of a more polished, pop act (again, like The Thrills) but what I got was yet another lo-fi recording. It seems that this fad (while I do enjoy it to some extent) is really plunging into the depths of all musical genres. This album reminds me of this years Papercuts release, but with more melodies. I can't say that I'm jumping for joy over Real Estate's self titled release, but despite my lofty and differing expectations...it's still a decent listen.

Rating - 7.5 Out of 10

FULL STORY - If I've read my magazines and blogs correctly, the single...and the song I should like the most is 'Beach Comber.' So for arguments sake, let's start here. Muddled in an ambient yet melodic feel, this track is actually halfway decent. While the pace is a bit slow for my taste, the friendly guitar riffs and nondescript lyrics offer up some solace.

"What you want is just outside your reach. You keep on searching. You're walking down that Pensacola Beach, you keep repeating."

The song itself is filled with metaphors, despite it's unassuming vibe. The entire track revolves around a metal detector wielding man searching for that lost Rolex in the sand...more plainly - all of our searches for happiness. Although blatant, the song somehow restrains the general theme in a very vague fashion through it's own patience.

"Pool Swimmers" is the second track on the album and if I was forced to describe it - it would be 'far out.' If I was stoned out of my mind and drinking a beer poolside in Malibu and there was no music at all...this would be playing in my mind. There is a very slow pace, which is matched against a very trebly (sp?) guitar riff and some decent background vocals. It's nice, but it has this slow almost psychedelic vibe to it that kind of throws me for a loop. Do I drop acid or take a hit? I need the delineation.

The highlight of the album, for me, is the combination of 'Atlantic City' and 'Fake Blues.' With 'Atlantic City' you get this fairly upbeat instrumental medley that takes you to San Diego circa 1972. You really feel you're there. Simultaneously the song evokes excitement and relaxation...I don't really know how, but it's pretty sweet. Shortly thereafter "Fake Blues" picks up with a slow building cavalcade of cleanly amped guitars. After the buildup reaches it's pick, we're met with a kind of energy that I'd compare to...well...I guess....surfing. It's fast enough to tap your foot to, but more than anything it just feels that you're locked into some kind of groove. There is a very friendly and repetitive riff that goes around, assuring you that you're not alone.

However, after these few songs everything seems to blend together. Not just pace, but instrumentation and lyrics as well. It seems that the majority of the songs on the record could be substituted for any other song on the record, without any major gripes being had. Everything seems just a tad bit slow, and just a tad bit contrived. I don't want to say it...but I think Real Estate is trying too hard. It's a good record and definitely has some definite peaks, but it just feels a bit forced to me. Sorry.

Tracks

1.) Beach Comber

2.) Pool Swimmers

3.) Suburban Dogs

4.) Black Lake

5.) Atlantic City

6.) Fake Blues

7.) Green River

8.) Suburban Beverage

9.) Let's Rock the Beach

10.) Snow Days

WK36 - Bibio - Ambivalence Avenue (9.5)

Released - 6/22/09

Label - Warp Records

BLURB - This album is all over the place...like an 8 year old's ideal ice cream sundae. But with Bibio it's not M&M's and Gummi Bears, but an eclectic and diverse portioning of gentile acoustic, chopped up computer loops, indie rock and Haight-Ashbury psychadellica. Having these genres all present for a single song could likely cause a musical civil war, however Bibio finds a way to weave in and out of these nomenclatures throughout the entire record. At certain points of the record you really feel like it is 1968 and you're listening to a folk group on a street corner in San Francisco. At other points you're right back in 2009 with computer generated drum patterns and cut-up vocals battling an unsettling slew of sound effects. What a weird, no..., great mix.

Rating - 9.5 out of 10

FULL STORY - I'll start with the more retro and nostalgic parts of this album. It's actual really tangible and transports the listener back to an era when a black coffee, cigarette and an artsy beret were all the rage. Things were simpler then and so was the music - but in more of a practical sense. There weren't as many barriers to music and lyrics. For the most part if you were a songwriter and wished to convey some type of message, emotion or thought, all you needed was a pen and a guitar. Nowadays too much thought and production goes into song making, which definitely affects the sincerity, honesty and creativity of the music. I think Bibio recaptures this older, poetic simplicity through several tracks on 'Ambivalence Avenue.' There are common themes of friendship and togetherness bonded through waves of carefree and unrestrained honesty. The vocals on the title track are presented as a group, almost uniting the cause, and they are surrounded by what can only be viewed as their supporters masked as flutes, violins, pianos and guitars. Bibio's lyrics match his peaceful musical entourage:

"Then we saw from the upper deck, watching ourselves as if seeing our future. Greeted by strangers who seemed to be good friends and welcomed us through their shiny red door."

'Lovers' Carvings' (#10 song of 2009) greets us with another warm and familiar feel, as if it's 20 years ago and the family is eating at the dinner table, then collectively and instantaneously, they decide to dance. As the song begins there is a lone, electric guitar softly finger-picking a ballad that wanders and strays, but never goes to far off the beaten path. In itself it's pretty beautiful. As implied above...good music to eat a meal with your family to. Then the cowbell starts. Then the guitar picks up. Things get a little more upbeat. Before you know it everyone is standing at the table and clapping to the beat. How did this happen? There is some weird, incredibly unifying force to this song that I can't quite pinpoint. It just screams family, friends and memories. The lyrics are actually somewhat dark, but their force and delivery ultimately brighten them up to a pristine and hopeful glow:

"Lovers names carved in walls - overlap and start to merge. Some of them underneath. Maybe they appear in graveyards. Maybe they fade away, weathered and overgrown...time has told. Meaningful, hidden words suddenly appear from the murk. Maybe they're telling us that the end never was. Never Will. The words have gone but the meaning will never disappear from the wall."

As I said, this record really is a Jekyll and Hyde of sorts. Some other nostalgic highlights include the somber tale of a couple parting in 'The Palm of Your Wave' and the ephemerally-stringed 'All the Flowers.' Enter Hyde. Despite showing his obvious skills in honest, yet beautiful songwriting and lyrical arrangements, Bibio also knows his way around a computer. He wants us to know this.

Complete with no lyrics and chopped up vocal samples, Bibio floors me with his digital prowess on 'Fire Ants.' I can only describe it as a production similar to that of Flying Lotus, but with a dash more pop appeal. It's incredibly smooth and laid back, yet properly upbeat during certain portion of the track. Why Kanye West or Common haven't found this, reworked it, and threw out a hit is still making me scratch my head. Incredible beat.

'Sugarette' is a nice, slow building electronic number that kind of meanders along with both curiosity and indifference. It's simplicity makes me think. But the main reason I like this song is that it serves as the perfect transition from the dark and mysterious ending of 'Haikuesquesque' to the melancholy turned bright guitar introduction of 'Lovers' Carvings.' If ever a song served a purpose, it is this. 'Sugarette' acts like a musical adhesive and propels the listener along, almost in storyboard fashion. I don't know why I really like this strategy, but I do. I feel involved. I feel like I have to listen to one before I listen to the next, and that I'm better because of it.

'Dwrcan' is a really futuristic and ambitious choice for the final song on the album. The track starts out kind of funky with some creative, electronic percussion effects and a rigid bass line. Some other minute things are going on as well, with little keyboard riffs and digital effects accenting each other. Halfway through the song it sounds like a bomb goes off and the tone of the music changes drastically. Everything becomes chaotic and is filled with tension. With 90 seconds left the track leaves only atmospheric drones. End of the world? Feels like it.

This is going to be one of those albums I really like, but will inevitably find myself being tossed in to the minority. 'Ambivalence Avenue' is a veritable ying yang of music and ideas. Conceptually, it's brilliant. The tracks with warm instrumentation and thoughtful lyrics, the ying, are all beautifully done and inadvertently force us to reminisce about friends and the good old times. Conversely, the yang, is filled with dark and experimental electronic jaunts, which propel us into the future where we're met with the thought of a possible apocalypse. These combative styles, concepts and moods really make this record for me. I want to get inside Bibio's head.

Tracks

1.) Ambivalence Avenue

2.) Jealous of Roses

3.) All the Flowers

4.) Fire Ant

5.) Haikuesque (When She Laughs)

6.) Sugarette

7.) Lovers' Carvings

8.) Abrasion

9.) S'Vive

10.) The Palm of Your Wave

11.) Cry! Baby!

12.) Dwrcan

WK35 - Memory Tapes- Seek Magic (9.5)

Released - 8/25/09

Label - HSR

BLURB - With only 3 more records to go on the year, I’m opting for some titles that I have definitively never heard of. Enter Memory Tapes. Lucky for me, this was right up my alley. This disc is filled with spacey electronic, yet occasionally funky grooves. There is a nice amount of haziness and subtle, introspective appeal to this album. I didn’t know if I liked it until I really sat down and listened to it. And I do. There is a well balanced combination of instrumentation and electronica that weaves in and out of this 1970’s lo-fidelity vibe. Granted the songs are not pop, and are generally downbeat, but there is an understated, experimental and honest charm to them. Think of a more electronic and less folksy version of MGMT that got mixed in a batch of Thievery Corporation. Not bad, eh?

Rating - 9.5 out of 10

FULL STORY - So I heard about Memory Tapes via Pitchfork's Top 50 Albums of 2009. I really didn't read the review too thoroughly, but since I often butt heads with Pitchfork (they gave Phrazes for the Young a 5.5 out of 10!) - I figured I'd see if I agreed with their ranking of 23rd for Memory Tape's 'Seek Magic,' and ironically, I do.

The second track, 'Bicycle' is Memory Tapes' so called attempt at the 'radio single.' For some reason this is how I wanted and expected Passion Pit to sound. There is a flurry of musical events going on, yet everything sounds relaxed and refined. Very confident. I've never felt that Passion Pit ever really bought into their sound...and I still don't. But that's neither here nor there. After lulling the listener to sleep for the first 6o seconds of cautious singing, percussion and sound effects, the song holds steady for a brief period, only to then be inundated with an intoxicatingly heavy bass riff and an arsenal of effects and background vocals. The song continues to vary in momentum and pace for its' duration, with everything ultimately coming together in an outstandingly crafted ending. Vocal chants mixed with repetitive guitar riffs prove to be a nice combination here.

Easily the funkiest track on the album is 'Stop Talking.' An electronically groovy bass line lays the bedrock for this track as typical 'too cool for school' shoegazer vocals are carelessly submitted. Cue wah wah pedals? Somehow the answer here is yes. As battling guitars and wah wah effects push their way to the forefront, we're hit with another fuzzy bass line and also a wave of synth. Clocking in at 7:02, the length may push some people away. Not me though. With my background admittedly being in jam and electronic music, I really appreciate and admire when an artist can throw together a song, and just see where it takes him. The majority of 'Stop Talking' is fairly consistent, but Memory Tapes very subtlety alters what's being pumped out of the speakers. It may take a few listens, but this track will leave you hearing new sounds and grooves with each successive listen.

'Graphics' (#6 song of 2009) is likely the most electronic-based song on the record. The intro and verse are kind of out there and don't really flow, but maybe this was done for a particular reason? After a bit of stumbling we find the best use of a chorus on the album, bearing much needed depth and weight in the lo-fi electronic realm that Memory Tapes creates. As you continue listening to this track you can hear the song evolve with each passing second. After that amazing chorus, there is an equally satisfying musical bridge that continues contorting sounds and vocals with synthesizers and computer effects. The song never reverts back to the original clumsy introduction and verse and grows organically into a monster of sound. While this track may not be Memory Tape's most popular, it certainly showcases their talent and musical fortitude.

I think this record is amazing. Here's my theory though...it's a little bit too out there for the legions of fans that claim to like the Passion Pits and MGMT's of the world. Memory Tapes may be a little too indie for all those out there that say they like indie. They have a little bit of MGMT in them, but have no tracks remotely close to sounding like 'Electric Feel.' Likewise, they have a little Passion Pit in them, but Memory Tapes does not force a 'Little Secrets' on their audience. This isn't a bad thing, I'd actually argue it's a great thing. Memory Tapes has such a great fusion of sound and experimentation going on, it's really hard for me not to get sucked in. The album has a very organic feel to it as well. Call it lo-fi, call it whatever. Regardless, 'Seek Magic' is a great release and one I'm happy to have found it. Wouldn't mind getting more than 8 songs though...

Tracks

1.) Swimming Field

2.) Bicycle

3.) Green Knight

4.) Pink Stones

5.) Stop Talking

6.) Graphics

7.) Plain Material

8.) Run Out

WK34 - Neon Indian - Psychic Chasms (10)

Released - 10/13/09

Label - Lefse Records

BLURB - Of all the albums I’ve reviewed on this blog, ‘Psychic Chasms’ will be the best of the year. This is for sure. Pretty easy decision too. Had it not been for Animal Collective releasing ‘Merriweather Post Pavilion,’ this would be my overall number one record of the year. Neon Indian is a one man wrecking crew, endlessly bludgeoning all of us with lo-fi synth pop in the most nostalgic of fashions. How so? Well, every song sounds like Wham’s rendition of ‘Last Christmas.’ But underneath all of these warm and fuzzy musical layers are themes that truly suggest he is anything but warm and fuzzy. Neon Indian offers up both introspective and highly interpretive lyrics that have a darker, thought provoking feel, leaving everyone in it's wake unable to stop listening. It’s simply that good

Rating - 10 out of 10

FULL STORY - Being the big music geek I am, I spend far too much time on iTunes looking at what people, who have bought albums that I bought, are buying. Follow? This led me to Neon Indian’s ‘Psychic Chasms.’ Essentially I use iTunes like it is one gigantic, widely traded mix tape. I brought it into work and sent it around to a few friends, whom either instantly loved it or hated it. A lot of the music I listen to has that quality. Long story short, this album ends up being one of the major discussion points at my company holiday party...well, that and Jersey Shore. Turns out I’m not the only person digging the indian and I end up scoring a couple tickets to see him at Mercury Lounge the next week. Sweet.

There’s something about seeing a brand new up and coming act live, whom you’ve just started following. You’re kind of unsure what you’re going to get and that show ends up being crucial. It’s the make or break point. It’s where you either decide to buy in, or move on. Neon Indian at the Mercury Lounge was one of those shows that makes you go all in. Everything from the energy to the emotion and sincerity of his performance was as addictive as I would guess meth is? Maybe more.

I think Neon Indian really appeals to me on a more personal level than other albums I’ve heard this year. For starters, I’ve really gone off the deep end as far these low fidelity, ambient-indie acts. There’s just something creative and different about it that I can’t get enough of. The whole Animal Collective, Panda Bear, Atlas Sound, Oberhofer scene...that’s my scene. What also draws me into these acts is the overwhelming homemade quality their sound has. The majority of these groups are just one person, or a small collection of very close friends. You can really get the sense of unbridled unity, motivation and friendship - pouring out of every track. There is a combination of seriousness, excitement and passion that is just more tangible and real than the majority of music that is out there. It’s also nice to use these artists as a measuring stick of sorts to myself, because I know all of these albums are being made in someone’s basement or apartment. This whole genre is filled with people like me, that listen to the same music, read about the same music and create, to some extent, the same music. Kind of like I’m indirectly friends with all of them. This common thread and affinity for music makes it extremely easy to root for them. Makes me pretty jealous too.

This is the part where I review the album and tell you what I liked about it. I break down the songs and encourage you to have your own go-round and decide for yourself. The only thing is, I’m at a loss of words. For those that know me, you might think this impossible. I can talk everybody’s ears off about music and I enjoy doing it. Get a couple drinks in me, and you won’t be able to get rid of me. It’s bad. But with ‘Psychic Chasms,’ I feel it’s so transcendent and unique that no line of contrived dialogue I put out will be able to explain exactly what this record sounds like or means to me. I’ve had several failed paragraphs already. In looking for some motivation I blindly perused some reviews and stumbled upon one that I could only wish that I had written. It nails every description and comparison I’ve been trying to force out of my brain. I am by no way making any claims to the authorship of the article, but I would like to recognize the source, as he did a stellar job. So please check out Citizen Dick (citizendick.org) for more great work. Here are my thoughts, brilliantly transcribed by a person named ‘Kevin.’

“I may be a bit obsessive-compulsive, but I have to believe people digest albums like I do. I tend to become a fanboy immediately with albums that jolt me from the starting gun, relentlessly focusing on three tracks that grab my attention first. Next, I eventually grow tired of the three standout tracks and move onto another section of three songs that I originally thought mundane and less noteworthy. Usually this results in a battle of sorts. I love those original tracks that drew me to the band’s sound, but inevitably wind up pushing them backwards in the playing rotation. Inexplicably, however, there always seems to be three tracks on every album that fail to make it into my pleasure-filled musical database. Try hard I may, but it’s an extremely rare occasion that an entire record is not just enjoyable to me from top to bottom, but noteworthy. Neon Indian’s Psychic Chasms is a debut that took a little time to wrap my brain around fully, but the fruits of ear-labor have never failed me yet. It’s an album rich with energy and a hard to pinpoint coolness that’s achieved through a varietal and shifting blitz of sound. Not a track is worthless, and in fact, if you listen to records like I do, the progression will leave no slag and the enjoyment tightens with each subsequent listen.

In my review of Deastro’s Moondagger earlier this year, much of the review focused on the reminiscent aura that certain electronically based outfits have been dishing out recently. For a self-professed alt-folk fanatic, it’s a pretty awkward admission that Alan Palomo (Neon Indian) creates the kind of music that knocks me straight out my LA Gear’s and into a completely fulfilling nostalgic mode. The central conundrum regarding electro-throwback music is that I have literally no way to merely describe a deeply rooted vibe. Typically, reviewing albums involves at least some shred of musical understanding. Although Psychic Chasms takes me far, far away from my comfort zone, I can’t stop playing it. The initial run through begins slamming “(AM)” at the listener, starting with a cylindrical synthesizer screechy sound that melts into the background as a nasty badass 80’s bouncy rhythm kicks in. Softly delivered vocals juxtapose the hard hitting grooves and busybody Danelectro attack. It’s this album opener that reeks of quirky mid 1980’s summers at the roller rink, super-rope licorices and, believe it or not, mid-period Prince material. Slick guitars and pinched out and looping sounds are splattered through each track. The retro hooks are encapsulated by spookily morphed and slowed down synth riffs that warble alongside nearly every song.

Perhaps it’s a trite over-generalization to assume Neon Indian is swinging for nostalgic fences here, as Palomo is extremely adept at spiraling sound mixtures. At times, the stacks of dominant sounds all layered on top of one another are quite brilliant. The midway arc of three songs, “Mind, Drips,” “Psychic Chasms,” and “Local Joke” point to wider and expansive takes on pop predecessors. At the heart of all three is a simplistic drum machine, aptly keeping time while each track spins and rises in sound-intensity. It’s easy enough to peg this as an album with repeat value for ambiance alone, but deeper listens unveil ripping keyboard arrangements, frenetic blips and flurries of wavering riffs. “Ephemeral Artery” links up a straining synthesizer behind everything, and like a car in an automated washer, it’s difficult to tell whether the songs moving forward or I’m moving in reverse. Super intriguing.

For me, however, what nails this album down is it’s drenching mid 80’s aura. “(If I Knew, I’d Tell You)” is forty-eight seconds of fuzzy and shaky brilliance that hearkens back to the most memorable early 80’s porn. If that’s a weak observation, our readership will have to accept my apologies, because my mind wanders constantly to those awkward instances of my youth, poorly dubbed Ginger Lynn fully included. To summate the value of this album, it’s important to first enter with a specific direction in mind. Like a choose-your-own-adventure book, this record consistently pulses from start to finish, and depending on listener preference, it can dive into nostalgia or enrich in a modern sense equally as well.”

Tracks

1.) (AM)

2.) Deadbeat Summer

3.) Laughing Gas

4.) (If I Knew, I'd Tell You)

5.) Terminally Chill

6.) 6669 (I Don't Know If I Know You)

7.) Should Have Taken Acid With You

8.) Mind, Drips

9.) Psychic Chasms

10.) Local Joke

11.) 7000 (Reprise)

12.) Ephemeral Artery

WK33 - Chiddy Bang - The Swelly Express (Mixtape) (7.5)

Released - October 2009

Label - Unsigned

BLURB - What an awesome mix tape. Thank you Mr. Tom Ruhf for the recommendation! 'The Swelly Express' was created from Chidera Anamege and Xaphoon Jones as story based mix tape detailing the two's frequent bus trips to New York City from Philadelphia. The album elaborates on the struggles and journeys experienced for two young kids trying to get a hip hop record deal. While a little rough around the edges, this is some good stuff. The production reminds me of early Kanye in that there is great instrumentation and is very sample-heavy. They flaunt their new school vibe with samples from both Passion Pit and MGMT, two of the more recent ground breaking indie acts. Don't know what will come of Chiddy Bang, but it's a great first step...and people are listening.

Rating - 7.5 out of 10

FULL STORY - What's great about 'The Swelly Express' is the pure creativity and originality. It's one thing to just throw some tracks on a mixtape and promote it. But these former Drexel students found a clever way to add some humor and story telling throughout the 18-track mix tape. You can tell they had a good time doing it. In between the majority of the songs are these little skits between Chiddy Bang, producers, bus drivers, label executives, taxi drivers, managers and everyone in between. The only thing is that after hearing this record so many times you just want to listen to the music and not have to deal with the skits.

The best song and beat can be found on the track, 'Now U Know.' The chorus features a well placed, '...and if you don't know, now you know' Notorius B.I.G. sample that really fits the song well. The production is very smooth and upbeat with cool little riffs and synthesizers throughout the track. The emceeing is very upbeat and has an indefinable swagger to it. You can feel the confidence on the track, and that is something that is great to see from an up and coming act.

'Get Up in the Morning' is the lead song on the mix tape and is also filled with the same swagger. While serving as the prologue to the entire story line to the record, it also readies the listener for Chiddy Bang's playful style of rapping, which is very easy going, laid back, yet confident. The duo is also not afraid to flaunt their Philly roots either as they make references to Phillies slugger Ryan Howard. It may be just me, but if you can find a way to work in Philadelphia baseball players, you've got my attention.

And now we move into some of the big samples, the first of which being 'Truth.' This song samples and features a chorus from Passion Pit's 'Better Things.' Of all the songs this track is the most danceable and has a huge amount of energy. This track also shows the group's versatility as they clearly can take care of the 'laid-back, chill out' jams, but they can also throw in some club music too. In the skit directly after this track, a fake 'label executive' tries to describe this song and says, 'I heard Truth, it's really cool, it's like rap but it's not rap, and it just blows my mind.' While simultaneously making fun of the executive they also indirectly illustrate just how great that song is. It is like rap, and it is not like rap. Through the Passion Pit sample Chiddy Bang is able to fuse underground hip hop, pop, indie and dance music into 'Truth,' making for a really amazing interpretation of where music is currently at.

The next huge sample comes by Chiddy Bang's sample of MGMT's 'Kids,' aptly titled 'The Opposite of Adults.' The music is based off of the main riff from 'Kids' but isn't nearly as tight as 'Truth.' The verses aren't as polished as the rest of the album, but it's not that far of a departure. Don't really know why I don't like this song that much, but to me it just has this feel of a couple kids in the basement hanging out and rhyming. Like maybe once they came up with the MGMT sample, they didn't really put a lot of effort into the rest of the song, I don't know.

All things considered, this is a fun record that combines the worlds of indie hip hop and indie pop. It is definitely refreshing and if you are just looking for some good music to hang out and party to, this will probably suit you well. If you want to pick up the mix tape you can get it here. Enjoy.

Tracks

1.) Get Up in the Morning

2.) Never

3.) Danger Zone

4.) Fresh Like Us

5.) Now U Know (feat. Jordan Brown)

6.) Welcome to Major Label Inc (Skit)

7.) Truth (feat. Passion Pit)

8.) Meet Mike Hoffman (Skit)

9.) Pro's Freestyle 1.0

10.) Awesome (Skit)

11.) Dream Chasin'

12.) Silver Screen

13.) Slow Down (feat. Black Thought & elDee the Don)

14.) Decline

15.) Call (Skit)

16.) The Opposite of Adults (KIDS)

17.) Voicemail (Skit)

18.) All Things Go

WK32 - Fool's Gold - Fool's Gold (9)

Released - 11/17/09
Label - IAMSOUND Records

BLURB - Hmm. Went into this one with no real expectations or sense of what I was going to get. On the advice of a friend, I bought 'Fool's Gold' with the cautious description of, 'well the only band they can be kind of be compared to is Vampire Weekend, but if you like Vampire Weekend you'll probably hate Fool's Gold.' This record has the Afro-Pop feel of Vampire Weekend, but the stylings and compositions are dramatically elaborated and send your ears on a trip over seas. But she was right, I really don't think most Vampire Weekend fans will like this...the songs are longer than 2 minutes.

Rating - 9 out of 10

FULL STORY - Fool's Gold does an amazing job of experimenting with African drumming rhythms and tones. With the majority of their songs clocking in well over 4 minutes, the band doesn't just give their sound a quick chance to win over an audience. Rather they take you along feverish journey of tones and motifs, that while repetitive, help accomplish the overall goal of their music. This goal is to somehow capture the tribal melodies and percussive feel of African countries, then re-work it into something that can be considered relevant in the states, yet retain their original objective.

The first track 'Surprise Hotel' is an excellent example of how Fool's Gold goes about its' business. Instantly your hit with a melodic guitar riff that sounds like something off a uhh, hmm, Vampire Weekend record, as it wanders around a rhythmic assembly of snare hits. The riff alone goes on for well over a minute before any vocals come one. If anything scares American listeners away from Fool's Gold it will be the vocals. First, there are barely any vocals on this album and second, the vocals are all in Hebrew. But if and when you get over this, you'll be able to fully dive in to Fool's Gold. After the band throws in some collective chanting (singing) they dive into, dare I say, a jam. Adding to the drums are congas and some tribal clapping, which get the song moving on all cylinders. The drum beat speeds up, we're greeted with a pleasurable saxophone solo, and all of a sudden it feels like we're dancing at a wedding in South Africa. How did this happen?

Fool's Gold does a great job of keeping the listener's foot tapping through repetitive song construction and instrumentation without it ever seeming too monotonous. No easy feat. You can also really pick apart the music and decipher some of the influences in their music. While their music has this 'chant' quality to it, it also has a certain danceable factor in it's equation. It's not hard to hear some european trance aspects and the sound is polished enough that it must be from America. To somehow capture the music of three separate continents in one song is not only interesting, but also enjoyable.

'The World is All There Is' is another track that has a worldly vibe. Stepping away from the heavy and varied percussive beat of much of the album, this song uses background vocals and chanting as a way to keep time. It catches the listener off guard, but after a short while you'll find yourself humming along. Brightening up this vocal beat is a myriad of subtle percussion instruments that accent both the featured vocals and the chanting in the background. There's a great feeling of unity and peace on this song and for some reason I can see this being used as the theme song for the World Cup.

The fifth track 'Poseidon' introduces us to more of a Middle Eastern atmosphere. Aside from the understated guitar motifs, the pulse of the drums and the use of castanets provide an interesting flavor that will have you guessing what country you are in. The real brilliance of this song, as well as the others, comes with the pulse that is established through the drums. The beat seems to be subtly changing from quiet to thunderous, from slow to quick, without ever jarring the overall sound of the composition.

As an overall record, this is a rhythmic breakthrough. It has all the features and tendencies of dance music, without actually being dance music. If you can get through the repetitive nature of this album...and past the Hebrew...you can really appreciate Fool's Gold for the music that have created. It's both bold and daring, yet clever and ingenious. A wonderful experiment.

Tracks

1.) Surprise Hotel

2) Nadine

3.) Ha Dvash

4.) The World is All There Is

5.) Poseidon

6.) Yam Lo Moshech

7.) Night Dancing

8.) Momentary Shelter

WK31 - Wale - Attention Deficit (6.5)

Released - 11/10/09

Label - Allido / Interscope Records

BLURB - There's been alot of underground hype with Wale as he's been slowly building a following in the Washington D.C. area. I realized that this wasn't just some local phenomenon when I tried buying the record and it was sold out at two different Best Buys in New York. After listening to the album over the last several weeks, I'm still trying to figure out what all the buzz was about. Its a good record, not great though. I was thinking I was going to get something epic with 'Attention Deficit' but I didn't. No Kanye, Lupe or Common-esque material - just a fairly modest debut.

Rating - 6.5 Out of 10

FULL STORY - What I will say is that there is some really good productions on here. Nearly every track features full bands and actual instrumentation, which is a definite plus. A fair share of samples are used, but they are blended nicely with the actual music.

The best track on the album is 'Mirrors.' Without a doubt. Sounding like something that would appear on a Roots record, 'Mirrors' features several guitar riffs and has a very gritty, classic feel to it. The track features Bun B and is legendarily produced by Mark Ronson (Amy Winehouse, Lily Allen, Maroon 5). Ronson dials in a nice horn section and some wah-guitar, while Wale spews rhymes explaining his originality.

It's no surprise that my second favorite track from the album is also produced by Ronson. This guy is great at bolstering an artist's sound and expanding the musical landscape. Here Ronson brings in big string sections and places an emphasis on the chorus and background vocals with Melanie Fiona. The song is very smooth and feels like it could be a great summer hit. There are a couple other tracks on the record that are just a little too cheesy and geared at the pop radio market and have been featured singles. This blows my mind. 'Beautiful Bliss' is the perfect combination of hip-hop, r&b and pop, and the way Wale, J. Cole and Melanie Fiona gel together is just right. How this became the second last track on the album and hasn't been made a single is curious. That's bad A&R.

'Shades' features Wale's most substantive lyrics. The rest of the material on 'Attention Deficit' is kind of geared to this, 'oh look at me, I'm original, I'm better than you' mentality. This is all well and good, but let's get some other concepts and hear something with depth. Well, we get that with 'Shades.' Wale, brilliantly, depicts his childhood growing up and viewing the ways different shades of African Americans were treated. This is the depth that we're all looking for. I think this is a must listen and could be a gateway for Wale to push forward with. He's pushed the door open, just has to walk through it now.

"They say black is beautiful, but ask them beautiful light girls if it's black they attract to usually. What if Barack's skin was all black? Truthfully, would he be a candidate or just a blackened community. We as black dudes tend to lack unity and them black girls aren't on the tube usually. Right now at 23 I ain't mad at them reds no more, but had gone cold. Blindfolded by my own insecurity, was holding me back to reds. I ain't know how to act. They would get the cold shoulder and know it was an act - a defense mechanism, what I thought that I lacked...confidence."

The song also has a really great beat and a decent amount of synthesizers and we all know my thoughts on synthesizers.

Other than those three tracks this album is very, very average. I have to say I was excited when I saw Pharrell got a track on the album with 'Let it Loose.' Very excited. But I ended up getting let down...very let down. The song has this annoying looping xylophone sound that drives me crazy. It sounds like Swizz Beat's 'It's Me.' Pharrell doesn't provide a verse, but does get the chorus and the production, obviously. Maybe I had my expectations to high? When I see that I'm going to get this rising new rapper, in Wale, and Pharrell together on one song, I thought it would be amazing. My fault.

The other interesting combo appears on 'Chillin' where Wale teams up with Lady Gaga. The track revolves around a sample of the, 'Na Na Na Na, Hey Hey Hey, Goodbye' song and it's terrible. It is the definition of cheesy hip hop. I'd like to know who said yes to the question, 'Hey, want to to do a song with Lady Gaga where we sample that one hey hey hey goodbye song?' Next time just say no.

Other bombs on this album include a painfully slow 'Contemplate' which samples the embattled Rihanna's 'Question Existing.' I actually have always liked this Rihanna song for some reason. It's dark and kind of out there, and this was well before Chris Brown smacked her around and pushed her to the dark side. '90210' is the third Ronson-produced track and is equally bad. This track focuses on the lifestyles of hollywood celebs and it is all too cliched. Whenever I hear '90210' it makes me think of the travesty that was Good Charlotte's 'Lifestyles of the Rich and Famous,' and that is never a good thing.

So here we are. A couple of dashes of brilliance, but Wale's 'Attention Deficit' never gets off the ground and into the musical realm I thought it could go into. He's been receiving gold stars from a large number of music critics and generally, has been very well received. I just want to see if this goes somewhere - he certainly has the potential.

Tracks

1.) Triumph

2.) Mama Told Me

3.) Mirrors

4.) Pretty Girls

5.) World Tour

6.) Let it Loose

7.) 90210

8.) Chillin'

9.) TV in the Radio

10.) Contemplate

11.) Diary

12.) Beautiful Bliss

13.) Prescription

WK30 - Wolfmother - Cosmic Egg (8)

Released - 10/23/09

Label - Modular Recordings

BLURB - For whatever reason, everyone is killing, 'Cosmic Egg.' Granted, the band established themselves as one of the preeminent rock acts after releasing their critically acclaimed, self-titled debut over three years ago - so I guess everyone has gigantic expectations for this album. Wolfmother's second release is exactly what it should be, especially considering that 2/3 of the band left, over 'creative differences' this past year. With the new lineup comes a slightly newer and more refined sound. This record has less of a 'classic' feel and takes more musical risks. While 'Cosmic Egg' is not everything it could be, it still stands up to the Wolfmother brand and is a progressive next step for the band.

Rating - 8 out of 10

FULL STORY - Alright...second straight blog entry coming from a bus. This needs to end. There's something to be said when the only free time I have, comes on a bus. Oh well.

I'm a huge fan of jinxes. In 2008 when the Phillies (by the way I'm a huge Phillies fan) beat the Rays in to the World Series, I picked the Rays in a genius reverse-jinx-scheme. This year, trying to further my insanity, I went for the reverse-reverse-jinx, by actually thinking the 'Phils could handle the Yankees...but it was too much. Philadelphia was crushed.

So here's where I'm going with this jinx talk. The publishing company I work for actually administers the copyrights for Wolfmother's debut disc, but a few months ago, the group's agreement ended and they relocated to another publisher. I was furious on many different levels. Part of me wants Wolfmother to kind of flop now. Or at least stumble a bit. Another part wants the (now) quartet to flourish, as they are genuinely one of the great acts out there. What to do?

There was a point when I was just starting to dive into the Wolfmother repertoire and a synchronization license for the band's material to be used in South Park came across my desk. Heaven. One of my favorite bands, getting placed in one of my favorite shows, with my company reaping the benefits. One year later, the band breaks up and gets new members, releases a new album and leaves my company. Objectivity may be at a premium here, but let's see what can be drummed up. I'm torn, but I'll lean Wolfmother.

The first track 'California Queen' is a fuzzy, dizzying whirlwind of an opener. There is a hypnotizing, albeit monotonous, two note riff that constitutes much of this song. All of the Wolfmother staples appear to be here...the fast tempo, heavy distortion and Stockdale's voice, which he is borrowing from Robert Plant. So we're three for three...should be a great song, no? For whatever reason, there is an absolutely terrible, poorly placed 'B' section that sucks all of the momentum out of the song. It's slow and awkard, giving what we all thought was an uptempo track at the beginning, a Jekyll and Hyde identity complex.

'New Moon Rising' is the single and has been used quite a bit in the film and televison world. The riff friendly track sounds exactly like a Wolfmother single should sound like. Stockdale nails the vocals and the drums, for some reason, sound even harder than normal on this song. This song kind of reminds me of 'Dimension' from their first disc.

The third track 'White Feather' shows the most growth and progression for Wolfmother. 'White Feather,' while one of the slower tracks, has a nicely understated blues tone, channeling a Rolling Stones-esque feel, from their prime. There is a screeching, in-your-face guitar solo during the bridge that will makes you want to go out and buy a wah pedal. It's that good. The whole song, is that good. You can hear the drum beat play with the rhythm guitar during the verses, offering a clever back-and-forth jarring of sounds. Sounding not of this era, but maybe the late 60's, 'White Feather' will end up be a classic Wolfmother tune.

The epic journey that is 'In the Castle' is the best and most creative song on 'Cosmic Egg.' I'm really inclined to make a 'Stairway to Heaven' comparison but I can't. It's too soon. People wouldn't see my point. But here's what I will say...On this piece, Stockdale really shifts a lot of the attention to the lyrics, creating a mythical tale about entering into the 'Kingdom of the Sun.' Stockdale has always used weird imagery with his lyrics, as if nobody told him it was almost 2010. He often uses classical connotations to help shape our interpretation of how he sees his songs. I would need more than two hands to count how many Wolfmother cuts reference castles, gypsies, horses, thieves or other odd folklore. Well, he is from Australia....is that enough reason? For what it's worth and as weird as it is, I think it works, and it's consistent. This gives their Wolfmother a 'Led Zepplin,' larger than life feel. It's unfair to make this comparison, but it's too obvious not to.

Back to 'In the Castle.' This song does a great job at switching tempo and velocity, while always maintaining forward momentum. When you need to hear Stockdale, the music's temperament is steady and thought provoking. When there is a shift with the feel of the vocals, the guitars and bass kick into distortion, emphasizing whatever line Stockdale is screaming. By the end of the song there is so much energy and fury stored up, that it spills up into one of the best outros I've heard in a while. You're definitely glad you stuck around for this nearly six minute track.

Much of this record sounds very similar to the four tracks described above, and there really aren't any true stand outs. A lot of times I judge a record on how it sounds as a whole, played front to back. With Wolfmother I find I use the opposite strategy. As a fan of their music, I really look for that smash, epic, rocking, other-wordly, track. That's their M.O. There were about five essential hits on their first record - there is maybe one on 'Cosmic Egg.'

Creatively and maturity wise, the album as a whole is better than their debut. There is more variety and risk. It's not difficult to hear tangible examples of their growth and evolution, as a band. There is much more tone and color to their music. They are going in the right direction, but 'Cosmic Egg' is definitely a 'two steps forward, one step back' sophomore attempt. Be that as it may - it will still rock you hard. Probably harder than you thought it could.

Tracks

1.) California Queen

2.) New Moon Rising

3.) White Feather

4.) Sundial

5.) In the Morning

6.) 10,000 Feet

7.) Cosmic Egg

8.) Far Away

9.) Pilgrim

10.) In the Castle

11.) Phoenix

12.) Violence of the Sun

WK29 - Julian Casablancas - Phrazes for the Young (10)

Released - 11/3/09

Label - RCA Records

BLURB - Christmas comes early for all of us Strokes' fans, as Julian Casablancas releases what will be one of the best records of the year in, 'Phrazes for the Young.' With all five members of the currently bickering band delving off into their own niche projects since the group's last release nearly four years ago, The Strokes have been an interesting storyline to follow. After each successive individual release we've been able to ascertain each member's contributions and worth to the band. After hearing 'Phrazes for the Young,' you quickly realize what Casablancas is bringing to the table - intangibles. Casablancas has this persona that is dripping with apathy and confidence. Each track on 'Phrazes for they Young' has an indefinable swaggar to it. Casablancas knows he has the mental fortitude to create these unconventional pop-rock-indie-garage-dance tunes - but perhaps more importantly, he knows he can do this better than anyone else. Welcome to 1988.

Rating - 10 out of 10

FULL STORY - So this review is coming via a Trans-Bridge Bus wi-fi connection. Not ideal, but it will have to do. I'm currently en route to Bethlehem, PA for the next 2+ hours and what better to do then talk Julian Casablancas? I've found that less is always more, in music, in life...in everything. Keep it simple, don't out-think the room and just be natural. This is Julian Casablancas. He is 1988. He is New York City. He is rock, and yet, admittedly, he is pop. He is passionate. Everything on 'Phrazes for the Young' is remarkably natural and un-calculated, at least it sounds that way to me. Instantly I'm tempted to make comparisons to The Strokes' 2003 release, 'Room on Fire' which was filled with tons of distorted, synthy sounding guitar riffs. 'Phrazes for the Young' feels like Casablancas further elaborating on that record, more or less throwing himself in to this pop-synth-garage rock genre. While 'Room on Fire' scratched the surface of this sound, 'Phrazes for the Young' jams an ice-pick right through it's core.

The first track starts off eerily unassuming and then turns into what sounds like an old school 2002 Strokes tune with rapidly strummed guitars and Casablancas crooning about his sadness turning to bitterness. The lyrics are painfully honest and forthright:

'Somewhere along the way my hopefulness turned to sadness. Somewhere along the way my sadness turned to bitterness. Somewhere along the way my bitterness turned to anger. Somewhere along the way my anger turned to vengeance. And the ones I made pay, were never the ones who deserved it. And the ones who deserved it, they would never understand it. At least I know I'm going to hell in a purple jacket. At least I'll be in another world while they're pissing on my casket.'

After the verse, a huge chorus rains down over the speakers, filled with bright synthesizers, strings and a slightly distorted electric guitar. Not the ideal musical trident, but this combination, with Casablancas' voice, fits together perfectly.

It's 6:51pm, I've now been on the bus for no more than 15 minutes and the guy next to me is nodding off into my shoulder every 30 seconds Hate the bus.

The second track, 'Left & Right in the Dark' starts off modestly with a slow synth hook that sounds like something that would have been played at Prom, circa 1986. After briefly teasing us as a downtempo song, a digitally delayed guitar and a nice 'clean' guitar riff enter. The second section of the verse throws in a second polished riff, this time of the synth variety before it moves to yet another huge chorus. So far we're two for two on the choruses.

'11th Dimension' is the single off the record and is an absolute, impossible not to listen to 100 times in a row, gem. The entire song is just a bright keyboard progression mixed with some danceable percussion and the trademark Casablancas swaggar, as evident in the line, 'Oh, I got music coming out of my hands and feet.' The song does throw in a couple darker twists and turns with some heavily distorted and muted guitar strokes and features a bridge that proves it's ok to have dissonance in a pop song.

Here's what separates Casablancas from everyone else. He's not just test driving this whole 'keyboard and synthesizer' fad. He's thrown himself into it and is fully committed. On '4 Chords of the Apocalypse' Casablancas gives a go at the blues world and nails it. His bold interpretations and visions of what a traditional blues song could sound like in his world, filled with keyboards, distorted guitars and synthesizers, is a clever display of his musical versatility.

Further exhibiting his genius, 'Ludlow St.' begins with some odd middle eastern flute solo and then jumps right into a folksy, bluegrassy ode to one of the best streets in New York City. How does Casablancas come up with these ideas? To top this track off, it's filled with electronic drum beats and later features a banjo solo. I can't make this up. And the funny thing is it works...quite well I might add. The song has actually been one of the most critically acclaimed and well received tracks on the disc.

In my opinion, the best song on the record is the closing track 'Tourist.' Competing with an ominous, dark drum beat and effects, a guitar picks a classical, folkloric riff to start off the song. It feels like a war march. When Casablancas appears on the track he is met with a digital snare loop, which may or may not have been sampled from a L'il Wayne song. The mood of the music and the vocals match very well here as you can literally feel the fear of hopelessness through both his lyrics and the music itself.

'I wish air clouds could hold me up, like I thought as a child growing up. I wish I could sound soothing as the rainfall; but I am only a drop from the storm.'

Once again, after the verse we're hit with another powerful chorus, bearing much weight and depth This comes in the form of a descending high pitched synth riff accompanied with strong emphasis on the drum and bass beats, and of course those Casablancas pipes. While we're on the topic of the Julian's vocals, has there ever been a more perfect match of vocals and music? No square peg in the round hole on this record. I'm not sure if the music is just an extension of his voice or vice versa. It's interesting to note that Julian is no Josh Groban. Casablancas doesn't sing so much as he casually speaks to the audience, like that one cool kid you remember from high school who was always smoking in the bathroom. For whatever reason it works.

This will probably be my favorite disc of the year. It really has everything - and with each listen I keep hearing some new sound or some great line. 'Phrazes for the Young' is also masterfully produced. The whole album is incredibly tight and has a very precise feel to it - like they captured exactly what they wanted to capture, and nothing else. If you find yourself listening to the record, take the time to also go over the lyrics. I've always viewed Casablancas as a historically underrated songwriter and lyricist with The Strokes, and hopefully now he will gain some much deserved respect. His lines are always witty and thought provoking, yet simple and relatable.

This should go to show you that in music, you need to know what you do well, commit, and just dive in to the deep end. Great things can, and do, happen. 'Phrazes for the Young' is Exhibit A.

Tracks

1.) Out of the Blue

2.) Left & Right in the Dark

3.) 11th Dimension

4.) 4 Chords of the Apocalypse

5.) Ludlow St.

6.) River of Brakelights

7.) Glass

8.) Tourist

WK28 - Caleb Hawley - Steps (8.5)

Released - 10/1/09

Label - Who Needs a Label?

BLURB - This disc cannot capture the pure and effortless talent that is Caleb Hawley. Berklee grad Caleb Hawley is likely the best songwriter you've never heard and will continue to fly under the radar for the time being. Hawley oozes music in a manner that is genuine, personable and, dare I say...fun? I've had the pleasure of seeing this distinguished artist a handful of times, being exponentially pleased with each successive performance. His knack for chord progressions and modulation is unparalleled. Each of his songs contain no less than 239 chords and countless licks that always leave you wanting more. The only problem I can find is the ability to effectively contain and reproduce his energy and genius on a record. 'Steps,' while having a very raw production quality is filled with hits and brilliant tones that will leave you asking, why isn't this on the radio?

Rating - 8.5 out of 10

FULL STORY - Where to start? I was introduced to Caleb through a co-worker's e-mail...'Hey my friend is playing a show downtown tonight, please come.' Thank you Brittany! Working at a music company I get countless e-mails telling me about the next great act and how I should 'definitely' check them out. So with a couple of hours to fill before a company volleyball game about a year ago, I decided to fill the time by seeing this Caleb Hawley-guy. Great decision. He was playing at the Rockwood Music Hall, which is no bigger than my modest Astoria living room and I was sold. Instantly. I've played guitar for 9 years and I've learned to be able to recognize good songwriting when I hear it. The first time I heard Hawley play I immediately compared him to John Mayer...but he may be even a little more well rounded than the latter. When I sat down and started learning Mayer's 'Room for Squares' I fell in love with the chords and musical decisions he made. That's not an E chord....thats' an Ebm 9th chord and wait...he goes to a G#maj 7th after that? Mayer introduced me to creative, yet pop, songwriting that could cover blues, jazz, rock and soul simultaneously. Hawley does the same thing. Maybe it's a Berklee thing? The main thing that I noticed at the first show at Rockwood was that Hawley's fingers never stop. He's constantly moving and changing tones and keeping the audience on their toes.

So on to the record. 'Small Steps' opens up the disc with a playful bluesy - jazz riff and clever lyrics depicting his efforts to be patient in life. The track is filled with horns and organs, adding color to Hawley's understated vocals. It's no 'stop-in-your-tracks' masterpiece, but it readies the audience for what is in store. The chorus is powerful and full of momentum, while retaining a relaxed and mellow vibe.

The second track, 'Other Side of it All' showcases Hawley's relate-ability, and serves as somewhat of an anthem of perseverance. His lyrics traverse decades describing past generations and the ability overcome any obstacle, which is matched in intensity by his musical songwriting. This song performed solo with just an acoustic guitar bears the weight of the world, however on the record, after starting out acoustic, he incorporates a bevy a strings adding depth and emotion to the track.

Another track of note is, 'Every Shade of Gray' which is a fairly laid back blues number that is hard to not tap your foot to. The bridge of this song is quite powerful and offers an optimistic view on striving to be the person we want to be.

'My Own Two Feet,' which is likely Hawley's best track, is yet another gem of lyrical observations on life. The verse is made up of an intoxicating riff that is actually quite difficult to hear on the record. I would definitely recommend viewing this track on YouTube to gain a full appreciation of his talent: My Own Two Feet. Nonetheless, it is still an awe-inspiring track whether hearing it on the record or live.

What's really great about Hawley is his ability to be self-deprecating through his music. He's immensely talented, yet has no problem throwing a song on the album that is fun loving, while poking fun at himself. He accomplishes this through the song, 'Who's Your Doggie?' which compares his life to that of his dog. It's hard not to chuckle during this track, and while it is extremely playful, the blues foundation that which it is laid upon makes it all the more credible. It's songs like these that make the listener realize how truly gifted he is at the guitar. The way in which he subtly lays down a creative, non-monotonous pop-blues riff is all too refreshing.

All in all, this record is a great buy that will likely introduce you to one of the top songwriters in the country. Despite the album having a low ceiling on production values, Hawley's likable demeanor and personality shine through brilliantly. And oh yeah...the guy is pretty good at guitar too. Caleb Hawley is one of the good guys in the music industry right now...it's only a matter of time before he is a household name.

Tracks

1.) Small Steps

2.) Other Side of it All

3.) Final Hour

4.) Every Shade of Gray

5.) Real Vacation

6.) My Own Two Feet

7.) Gone for Good

8.) Samantha's Song

9.) Who's Your Doggie

10.) The Way it Is

11.) Fade

WK27 - Atlas Sound - Logos (6.5)

Released - 10/20/09
Label - Kranky

BLURB - I've never seen a record with such polarity as 'Logos.' I mean there really is everything here...good and bad. Over the last year or two, I dove into the psychedelic, layered, sonic-esque sounding artists that have risen to prominence, namely Animal Collective, Panda Bear and Deerhunter. For some reason I have an infatuation with groups that can create a wall of sound - whether it be through computer loops, instrumentation, vocals or other means. It's always seemed ingenious and creative to me; anyone can write a four chord song... so why not do more? Atlas Sound, in his second release, attempts to do this, yet stumbles along the way. Maybe I expected too much, but 'Logos' brilliance is short lived and can't compete with the Panda Bears of the world.

Rating - 6.5 out of 10

FULL STORY - So if it can't compete why did I give a 6.5? Well, the answer simply is, 'Walkabout.' If you can remember back to my review of Grizzly Bear's, 'Veckatimest' I stated that 'Two Weeks' was the best song of the year. Allow to me correct myself, this title belongs to 'Walkabout' the third song on this record, which features Panda Bear of Animal Collective. This is perfection. 'Walkabout' is a fusion of layered motifs and brilliant songwriting that will have trouble being topped by the year's end. Atlas Sound (aka Bradford Cox) is more or less known for being this very introverted fellow, producing somewhat somber tunes of self reflection and observation. So it's refreshing to hear such an uplifting, nostalgic song here. Parts of 'Walkabout' sound incredibly new, yet there is such a timeless quality to this track.

Another strong effort on this album is 'Quick Canal' featuring Laetita Sadier; an eight minute computer looped, background vocal filled masterpiece. The track is incredibly well-paced, never moving too quickly or slowly. Atlas Sound effectively works the piece to match Sadier's vocals, steadily increasing waves of static noise. The track is much like a train, building steam and momentum, incorporating more and more effects without the listener ever taking notice. This is incredibly difficult to accomplish - and Atlas Sound performs this task effortlessly.

Now we get into the grey area. After these two tracks, this album goes downhill in a hurry. The rest of the album is filled with monotonous, uncreative loops and imagery. In a genre of ambient music where songs can take on so many shapes and forms, 'Logos' seems boring and uninspired. Countless reviews of this album are raving about this release and I'm not sure I agree. Atlas Sound's last release was heralded as a depressing, emotion filled experience, which was giving way to a supposedly progressive new record in 'Logos.' I'm sorry...but it sounds like the same old act to me.

With the two best tracks on this record featuring outside songwriters, I find it hard to give Atlas Sound a world of credit here. Aside from 'Walkabout' and 'Quick Canal' this entire album is forgettable. Every track is filled with slow loops, monotonous acoustic guitar riffs and uninspired vocals. Several of these tracks also feature Cox manipulating his vocals through computer effects and static - creating an almost unbearable experience. Plain and simple, it is difficult to get through. The lyrics here are undoubtedly sincere but poorly delivered.

Cosby Show Segue-way!

For whatever reason, one of my favorite shows of all time was The Cosby Show and so I'm drawn to make an analogy here. In the best episode of the series, Vanessa brings home her fiance without telling Cliff and Claire that she got engaged. What ensued was hilarity. The main point Cliff was trying to get across was this: presentation. Vanessa could have brought home a doctor that made 20 million dollars a year, but she did so in a matter that was shallow, selfish and unthoughtful. Even though her fiance was a mere custodian, he was presented to the family in a terrible manner, creating an environment that was impossible to receive acceptance.

This is what Atlas Sound does. He has tons of potential and brilliant ideas and imagery, but the way his work is delivered does not accurately reflect his genius. There are too many detracting factors. Too many effects, too many musical obstacles to overcome. This is why he invites Panda Bear on the record - he knows he'll never be that good.

That being said, 'Walkabout' is the best song of the year, credit Noah Lennox.

Tracks
1.) The Light That Failed
2.) An Orchid
3.) Walkabout (With Noah Lennox)
4.) Criminals
5.) Attic Lights
6.) Shelia
7.) Quick Canal (With Laetita Sadier)
8.) My Halo
9.) Kid Klimax
10.) Washington School
11.) Logos

WK26 - Paper Route - Absence (8.5)

Released - 4/28/09
Label - Universal Motown Records

BLURB - What a surprising release! I bought this the other day on a whim, solely because amazon.com had recommended it to my account. Well done amazon.com! This record, while not in my wheelhouse of favorite genres or styles, grew on me as soon as I got through it for the second time. I'd describe Paper Route as an above-average alternative, rock/pop band, with some slight electronica. But hey, who doesn't have at least a little electronica these days? Some of the tracks on here are very radio friendly and have huge choruses while others are a little more experimental. Fans of Keane and Switchfoot will definitely appreciate 'Absence's' piano and guitar driven rock, while there may even be some converted Passion Pit fans that will be drawn to the record's subtly nuanced electronica.

Rating - 8.5 out of 10

FULL STORY - Somehow these guys are from Nashville...you'd never be able to tell. Ambient sound effects, driving guitar chords and precise piano work immediately assured me that this album would be something worth listening to. What also stands out on this record are the drums. Many of these songs are very radio friendly with solid verses and powerful choruses that carry alot of depth and weight. Think of Switchfoot's, 'Dare You to Move,' - a lot of the songs sound like that. The key difference though, is that Paper Route often time installs fast paced, almost dance-like drum beats, with the emphasis being on either snare or hi-hat hits. This helps to speed up slower songs and gives an added dimension to the tracks that are already solid. For anyone that is a fan of Phoenix, I'd be quick to compare this drumming style to 'Lisztomania' or '1901.' A good example of this would be Paper Route's, 'Last Time.'

As of right now, 'Last Time' is my favorite track on the record. Paper Route opens with a string of background harmonies, a synth loop and then dives right in to the song, full steam ahead. The band does a great job of mixing tempos, helping to delineate the song's structure. At about the 3:15 mark, the tracks cuts out completely leaving just sound effects and drums, and then slowly works itself back around to the chorus. Personally, I think this is a really cool trick because when the chorus comes back up, there is a line of alternate lyrics that are sung over the original chorus. The break, while serving as a bridge, also kind of starts the song over in a way that re-interests the listener. The depth and variety here are amazing and really pulls the audience in.

'Are We All Forgotten' strays away from the rock/pop feel that fills the majority of the album, by opting for a more electronic vibe (drums included), conjuring up comparisons to The Postal Service or Mae. The lyrics even match their emo counterparts:

"I still believe that change can happen, though it's hard and it happens slowly. I still believe forgiveness comes with love and god when it washes it over me. If we've all forgotten you, are we all forgotten too? Don't you break my heart, don't you break my heart again."

Further distancing themselves from being locked into one specific genre, Paper Route goes experimental with, 'Gutter.' I love walking around New York with this song blasting on my iPod. The synth and the effects on this track are more prevalent here than on the rest of the album. 'Gutter' is what will attract the Passion Pit and Thievery Corporation fans out there to Paper Route. The track is done at a fairly slow pace, but there are synthesizers, strings, weird drum effects and noises coming at you from every direction.

Other songs on here that are worth mentioning include 'Wish' which is a very well organized, catchy pop rock song. On this track a piano riff weaves in and out, providing a catchy melody that really begs the question, 'why isn't this on the radio?' 'Enemy Among Us' opens up this disc, but really doesn't represent the album as a whole. A slow piano progression paced with an equally slow drum beat provide for a very downtempo song that sounds similar to something that would be on a Keane or a Coldplay album. And finally, if you're looking for a track that sounds like it's out of the 80's, look no further than 'Good Intentions.' Again, this tune feature a considerably slow, albeit relaxed tempo, filled with keyboards, strings and some decent background vocals.

With this high praise I should have given this a 10, no? Well, the big (only) knock that I have with this album is that I've found it difficult to listen to straight through. It's really weird and kind of unique in that, this album covers a large amount of genres and influences, yet it still comes out with this singular alternative pop/rock feel. The songs that I didn't mention in this review are all very predictable and sound exactly as I would have thought they'd sound. So while Paper Route does run the gamut of experimentation and creativity, there are still a couple of songs that appear to be filler, forcing me to skip through them. But don't let that detract too much from what Paper Route accomplishes on 'Absence.' This record is a definite surprise and there are plenty of outstanding and innovative tracks to be found.

Tracks
1.) Enemy Among Us
2.) Wish
3.) Carousel
4.) Good Intentions
5.) Tiger Teeth
6.) Be Healed
7.) Last Time
8.) No Sudden Revelations
9.) Gutter
10.) Are We All Forgotten
11.) Lovers' Anthem
12.) Dance on Our Graves

WK25 - Green Tea - Places + Spaces (8)

Released - 8/11/09

Label - Plug

BLURB - It's amazing what one man can accomplish nowadays. Green Tea spoils his listeners with a parade of timeless grooves traversing the last three decades of music, while somehow remaining new. The DJ combines rich bass lines with strings, synth, guitars, keyboards and even a fair amount of flute play. Quite the pairing risk, but it comes off sincere and unforced. The entire album is extremely danceable, in a very laid back fashion. The only flaw is that portions can become monotonous as Green Tea's distinct feel and vibe clearly resonates throughout the entire record. Nonetheless, a great debut.

RATING - 8 out of 10

FULL STORY - R&B, electronic, disco, rock, pop and hip hop laced tones can be found in nearly each of the album's 13 tracks. Despite the fact that this formula works brilliantly, Green Tea's musical fulcrum never really bends too far. Cautious and predictable would be two adjectives one could use to describe, "Places + Spaces." Each song appears to be have been baked on the same cookie sheet, with many tracks sounding similar. But before you jump to any conclusions, let me unequivocally state that this is not a bad thing. Here's why. With DJ's, so many times the emphasis gets put on having this killer "beat." "Oh man, that beat's hot," or "did you hear that crazy beat" are often phrases the less informed used to describe songs, myself included. While having a great beat is certainly a positive and can really help drive a song, it does not alone make the song - or at least it shouldn't. It's like making a salad with only lettuce.

What Green Tea does well on this album is establish some kind of beat or groove, that while it does serve as the foundation, it is not limited to one function and gets subtly de- and re-emphasized. Green Tea accomplishes this by shifting the audiences attention to and from the beat with an infinite amount of hooks, leads and riffs. Whether it is a high synth lead, a distorted guitar, or an all together silence leaving only the rhythm of the snare hits, there is always substantive factors contributing and improving upon the beat. The use and manipulation of motifs is also something that is undervalued in music today. Green Tea admirably creates, reverses, speeds up and twists motifs, forming a satiable experience for his audience to soak up.

The other facet of this album I really enjoyed is how much it feels like a live band. "Places + Spaces" sounds unmistakably similar to Lotus's, "Nomad" one of my favorite albums of all time. Lotus is more or less a perfect fusion of rock, jazz, r&b and electronic rolled up into a jam band that is not afraid to experiment. So for a DJ to be compared to them is certainly high praise. Fans of Elliot Lipp, Lotus, Pnuma Trio and STS9 will likely become fans of this relaxing collection of electronic tracks.

Two cuts on this record feature performances by another Plug Label artist, Kero One. This emcee fits Green Tea's vibe brilliantly. His verses and phrasing are very hook friendly and can get stuck in your head instantly. This is also helped by the duo's intrinsic simplicity, as they never try to do too much and avoid flooding tracks with unneeded rhymes or cluttered sounds. 'Future Classic and 'Yes Party People' feature Kero One and are great examples of how well each accents the other.

Some of the other signature instrumental tracks on this record include 'Jazzy Joint,' 'Thinking of a Master Plan' and 'Words Left Unspoken.' If your looking for some music to kick back and relax to, these are definitely a couple must-haves. Portions may become repetitive and redundant, but everyone has a learning curve and this will remain a great starting point for Green Tea

Tracks

1.) Something Like This

2.) Maximum Joy

3.) Dew Drops in the Garden

4.) Cruise Control

5.) Jazzy Joint

6.) Future Classic

7.) Words Left Unspoken

8.) Porto Seguro

9.) Thinking of a Master Plan

10.) Yes Party People

11.) Eclectic Relaxation

12.) The Waiting Game

13.) Cruise Control 2.0