10 Artists to Look Out For in 2011

Here are ten artists that have been making their way through my playlists over the past few months and look to be ready to break in 2011. Certainly not all of them are going to break out and become successfull, but it will definitely be interesting to watch and see what happens. I'm also curious to see what new genre fusions start emerging...2009 was the year of do-it-yourself electronica (Neon Indian, Washed Out, MNDR), 2010 was the year of distorted lo fi rock (Surfer Blood, Best Coast, Ariel Pink's Haunted Graffiti), so exactly what does 2011 have in store for us?

1.) Tennis

Lo-fi indie pop with incredibly addictive vocals, hailing from Colorado. They can take a while to get into, but I haven't been able to stop listening to them the last couple of months. Their debut full length is out 1/18/11 on Fat Possum records.

myspace

live - bowery ballroom (3/2)

soundcloud - 'marathon'

2.) Yellow Ostrich

Very minimal, vocal pop bedroom project that sounds like a weird fusion of Freelance Whales and Local Natives. Again, a tough listen at first, but I think they are destined for some kind of iPod commercial or a catchy smart phone ad.

myspace

live - mercury lounge (1/4)

soundcloud - 'whale'

3.) The Head and the Heart

An upcoming indie-acoustic band that's been drawing comparisons to Dr. Dog, Fleet Foxes and even Ray LaMontagne. Their music is incredibly accessible and often light-hearted.

myspace

live - terminal 5 (2/18)

soundcloud - 'sounds like hallelujah'

4.) Yuck

Lo fi indie band that actually has some nice pop harmonies buried underneath their endless layers of distortion and chaos. Think Wavves or Beach Fossils, but actually good.

myspace

live - mercury lounge (1/25), glasslands (1/26)

soundcloud - 'georgia'

5.) The Pass

They may be the band I'm most excited for in 2011. The Pass quietly released "The Burst" this fall and it hasn't garnered the attention it should. Their sound is a fusion of dance, pop, electronic and indie rock. Imagine a blend of Phoenix, Passion Pit and Delorean...brilliant.

myspace

live - nothing in the nyc area

soundcloud - 'vultures'

6.) Holiday Shores

They're a weird amalgamation of garage pop and dance. They somewhat remind me of a much rawer and earlier Vampire Weekend, but with more guitars and distortion. They are Kisses if they were from the east coast.

myspace

live - bowery ballroom (3/2)

soundcloud - 'edge of our lives (live)'

7.) La Sera

Lo fi indie pop that has some hints of soul and motown. This solo project is from Vivian Girl's member Katy Goodman, and is much brighter (and less suckier) than Vivian Girls - very much in the same vein as Best Coast.

myspace

live - bowery ballroom (3/2)

soundcloud - 'never come around'

8.) James Blake

An exciting electronic fusion of dub beats, samples and effects. He already kind of broke this year, but I think he's really going to go off in 2011. If there was a white Flying Lotus - it's James Blake.

myspace

live - nothing in the nyc area

soundcloud - 'cmyk'

9.) Smith Westerns

Breezy, indie rock band that is filled with pop melodies. They really remind me of a rough, stripped down version of Rooney or The Thrills. Thankfully, they're are not too overly lo fi.

myspace

live - glasslands (1/18)

soundcloud - 'weekend'

10.) Penguin Prison

I still don't know why Penguin Prison isn't huge. It defies logic. Combine equal parts synthesizers and Justin Timberlake-esque vocals...you should have a star in the making, right? I'm willing to bet money that they break out this year, for the next two months they are touring with Girl Talk, so they'll finally be getting some decent exposure.

myspace

live - nothing in the nyc area

soundcloud - 'the worse it gets'

Top 15 Albums of 2010

Here it is, my favorite 15 albums of 2010...

15.) The Roots - "How I Got Over"

14.) Delorean - "Subiza"

13.) Surfer Blood - "Astro Coast"

12.) Deerhunter - "Halycon Digest"

11.) Best Coast - "Crazy For You"

10.) Local Natives - "Gorilla Manor"

9.) Kisses - "The Heart of the Nightlife"

8.) Two Door Cinema Club - "Tourist History"

7.) The Morning Benders - "Big Echo"

6.) LCD Soundsystem - "This is Happening"

5.) Miami Horror - "Illumination"

4.) Sleigh Bells - "Treats"

3.) Kanye West - "My Beautiful Dark Twisted Fantasy"

2.) Tame Impala - "Innerspeaker"

1.) Toro y Moi - "Causers of This"

Top 15 Songs of 2010

Here you go, the top 15 songs of 2010 (in my opinion).

15.) French Horn Rebellion - This Moment

14.) Delta Spirit - Bushwick Blues

13.) Two Door Cinema Club - Something Good Can Work

12.) Local Natives - Sun Hands

11.) Deerhunter - Helicopter

10.) Tame Impala - Desire Be Desire Go

9.) Kisses - Kisses

8.) Sleigh Bells - Rill Rill

7.) Vampire Weekend - Cousins

6.) The Morning Benders - Excuses

5.) Kanye West - Monster

4.) Pantha du Prince - Stick to My Side

3.) LCD Soundsystem - Dance Yrself Clean

2.) Toro y Moi - Low Shoulders

1.) Miami Horror - Sometimes

WK52 - Marnie Stern - Marnie Stern (4)

Released - 10/5/10

Label - Kill Rock Stars

BLURB - Aside from maybe, Fang Island, Marnie Stern may provide for the most frenetic rock release of the year. Her album is jam packed with screaming guitar riffs and intricate drum fills that almost convince you that you're listening to some metal band, and not this tiny girl from New York City. Described as an art-rocker, Marnie Stern's music is an interpretive blend of fast-paced punk and progressive rock that packs a wallop. But, regrettably, the album is a tough listen and is mired in chaos and noise. Few songs have any true hooks and most of the record comes off as loud and monotonous. While the musicianship is actually top notch, the overall accessibility of the album is lacking - but I guess that's art rock for ya?

Rating - 4 out of 10

FULL STORY - The first time I listened to Marnie Stern's album, I was kind of just playing it softly in the background while I was at work. Without putting too much thought into it, I could kind of hear some weird marriage between Best Coast and Sleigh Bells. Obviously this warranted a closer inspection - as that union sounds like musical heaven. But after listening to the album over and over again I kept become less interested. Sure the sound is pretty dynamic and some of those fret-tapping solos Stern rips off are incredible, but there is very little pop appeal. The vocals are more or less just screaming with any sense of tone or pitch.

The opening track, 'For Ash' features some amazing drumming and something of a watered down thrash-metal feel. The song is filled with energy but is extremely difficult to dive into. Much of 'For Ash' is just shouting over repetitive guitar lines that become old and tired well before the song even comes close to ending.

'Nothing Left' again features some outstanding beats as the drummer works in both double kick drums and a barrage of snare fills. The track actually has a decent makeup in that there are several varying sections, bridges and riffs that keep the song interesting and appealing. The lead riff that reappears throughout the track is very catchy and creates a cool, subtle basement party vibe. But for me, even just after listening to only these first two songs closely, the vocals are rubbing me the wrong way. Maybe it's just me, but I can't stand listening to her voice. When she's not shouting, she's pretty much just talking with rhythm...definitely not singing.

'Gimme' and 'Cinco De Mayo' literally sound like the exact the same song with different lyrics. While her guitar playing is impressive and more than tolerable, nothing much else ever appears to happen - creating two back to back songs that have a glaring lack of diversity. With these two tracks there is no direction or flow and the songs suffer, coming off as both stagnant and boring.

I know the whole artsy, noise-rock thing is supposed to be interpretive and nuanced, but I'm finding it's just something I can't get into. The best aspects of Marnie Stern are her musical precision and energy - I've never heard a female guitarist that's this good. But that being said, her persistent stubbornness to only approach her craft from one singular perspective and failure to add at least some sense of versatility and creativeness to her music does nothing but detract from her talent and potential. For you to really enjoy Stern, you have to rid yourself of melody and any commercial expectations you may have. The record is noisy, chaotic and often too much to take in. You may want to give Marnie Stern a listen or two just to see what's going on musically and develop your own opinion, but don't get your hopes up - the album isn't as great as many of the indie critics out there think it is.

Tracks

1.) For Ash

2.) Nothing Left

3.) Transparency is the New Mystery

4.) Risky Biz

5.) Female Guitar Players Are the New Black

6.) Gimme

7.) Cinco De Mayo

8.) Building a Body

9.) Her Confidence

10.) The Things You Notice

WK51 - French Horn Rebellion - The Infinite Music of French Horn Rebellion (7)

Released - 12/7/10

Label - French Horn Rebellion LLC

BLURB - French Horn Rebellion are perhaps the best live show in New York. Their energy and drunken enthusiasm at their shows make their electronic DJ sets can't-miss parties. After releasing some singles and EP's, they've finally released their first full length album in "The Infinite Music of French Horn Rebellion." What's unfortunate is that the record is somewhat lacking in the ability to adequately reflect their buoyant, energetic dance grooves. The album does have some hits on it, but much of the record is filled with spacious and sometimes tedious breaks that are constantly detracting from the fun. At it's core, 'The Infinite Music of French Horn Rebellion' is a collection of party jams from two hipsters in Brooklyn looking to have a good time. The release is listenable but nothing spectacular - if you really want to get down, go see them live.

Rating - 7 out of 10

FULL STORY - I've probably seen French Horn Rebellion five or six times, and they never disappoint. Perhaps this is why I'm a little taken back by the lack of out-of-this-world dance grooves...I was probably expecting too much. That being said, there certainly are some bright spots on the album.

'Body Electric,' the album's second song has a european garage-trance feel to it that exudes hipster partyism. The track does sound a little bit too 3Oh3! for me, but I can look past this. The highlight of 'Body Electric' has to be the dynamic bridge as it effectively delivers some great 80's synth solos over a bed of chunky bass lines.

The eighth track, 'Up All Night' is likely French Horn Rebellion's most familiar song. The band really started gaining their street cred from this song alone, and we're able to parlay that hit into a music video and numerous remixes. 'Up All Night' is a song you can't wait to hear at a party. It's lively, energetic and fun. There are hooks and melodies everywhere that get welded into your brain before you know it. Much of the music is filled with video-game-sounding synth riffs that serve as the hooks and focal points for the song.

'This Moment' delivers the best dance groove on the album and has a distinct disco feel. The bass lines are cranked up on this track and help to provide some much appreciated funk. Essentially 'This Moment' has two separate sections (verse and chorus) and they do a marvelous job of complimenting each other. Both have different tempos, but are unique and creative enough to keep the song's momentum on track. The chorus on "This Moment' is probably the sturdiest of the album (maybe second to 'Up All Night') and has a great singalong quality to it. All in all, 'This Moment' is one of the better tracks on the album, and is just fun to listen to.

'Last Summer' is one of the surprises of the album and is uncharacteristically slow for French Horn Rebellion - but it works. The song is much in the vein of 80's pop and has an eery similarity to The Police's 'I'll Be Watching You,' of all things. Halfway through, the song dives off the deep end into a weird chorus filled with, what else, french horns. I'm not really sure what they were trying to accomplish with this - it doesn't fit with 'Last Summer' and detracts from how great the song actually could have been.

The only other tracks really worth mentioning are 'What I Want' and 'Geomancer's Compass and Other Quasi-Scientific Findings,' with the latter sounding like something George Clinton would have made had he been on acid and sitting in front of laptops and synthesizers for an afternoon. 'What I Want' returns to a more digital-pop vibe that is actually one of the album's stronger tunes - you can't help but think why it was placed last on the record.

Ultimately, "The Infinite Music of French Horn Rebellion" is something of a let down. In between all of their catchy dance tracks are head-scratching, ambient interludes that don't serve any real purpose on the album. You can make the argument that these were put there to provide transitions for each of the songs, but it doesn't really work. I've had the album for two days now and find myself sub-consciously skipping over all of these medleys. The other main factor that detracts from the album are the poor vocals. I've been able to look past them because of how sick some of the music is, but they do appear to be the elephant in the room. Luckily for French Horn Rebellion, it's their music and creative do-it-yourself digital approach that's made them who they are. The album is definitely worth checking out, but if you really wanted to experience the greatness of French Horn Rebellion you're going to have to see them live.

Tracks

1.) The Void and Fancy Free

2.) The Body Electric

3.) Broken Heart

4.) New Florida

5.) Brasilia Girl

6.) Mawson's Peak

7.) Antarctica / The Decision

8.) Up All Night

9.) This Moment

10.) Last Summer

11.) Geomancer's Compass and Other Quasi-Scientific Findings

12.) Running Through the Wild

13.) The Cantor Meets the Alien

14.) What I Want

WK50 - Kanye West - My Beautiful Dark Twisted Fantasy (10)

Released - 11/22/10

Label - Roc-A-Fella Records

BLURB - Where to begin with Mr. West? "My Beautiful Dark Twisted Fantasy" is by far, the best hip hop album to come out in 2010. West has the unmistakable knack for delivering on every album he's put out. He's in total control of every note, sample, beat, verse - nothing gets by without the 'Yeezy' stamp of approval, and it shows. This record flourishes with diversity, creativity and originality. Some tracks come with an old school Wu-Tang feel, while others are incredibly modern and progressive. Swagger and coolness are literally pouring out of the album as each track delivers verse after verse of stellar rhymes and innovative beats. Even my bosses can't stop listening to "My Beautiful Dark Twisted Fantasy." Love him or hate him as a person, but you can't deny the greatest rapper alive of his masterpiece.

Rating - 10 out of 10

FULL STORY - First I'll explain my bias. Kanye West has been my favorite rapper for as long as I can remember. I own everything he's ever put out, and will continue to buy every album he makes. There's just this unique and distinct talent that you have to acknowledge when you're talking about Kanye. What people don't realize is that at his core, West is a premier songwriter and something of a musical genius. He produces all of his tracks, creates all of his beats, coordinates all of the instrumentation, and oh yeah...he raps too. There's something to be said about someone who is in that much control of their music. He is wholly responsible for every note on every album. For me, to see someone take such ownership and pride in something and not accept anything less than the best, is not only admirable but a model everyone should use in life.

As long as I can remember Kanye has been a veritable 'hot button' for many people, and I've never fully understood why. West developed this unflattering reputation over the last few years as being a jerk and an egomaniac that is constantly stirring up controversy with some of the things he says. Granted, he is a little crazy, like all geniuses, but he has always stood by his words and actions. If nothing else, Kanye is probably the most honest and forthcoming public figure out there. He received endless criticism for upstaging of Taylor Swift's acceptance speech at the VMA's when he interrupted her collection of thank-you's, to inform her that in reality, her song wasn't that great and shouldn't have won the award. Now I know there's got to be a better way for him to handle that, but in all seriousness - he was right. And in some bizarre way, that exchange only made me like him more.

But enough history, let's get to the album. Kanye always does a great job prefacing his records with a welcoming opening track that readies the listener for the rest of the album - and this is no different with 'Dark Fantasy.' The opening track has a laid back groove and swagger that immediately makes you glad you hit the play button. West also throws around some clever wordplay that can't help but make you laugh as your nodding your head up and down. Case and point, this gem:

"...too many Urkels on your team - that's why your wins low...."

I've been noticing that the second song on the record, 'Power,' is quickly becoming one of the better sports anthems of the year. I hear it everywhere - on SportsCenter, at NBA games, in the background of football games. The track samples the obscure King Crimson's 'Twenty First Century Schizoid Man' and has an energy and enthusiasm that is all too tangible. West does a great job changing tempos and throwing in several interludes and bridges that grow on you with each listen. If nothing else, the switches employ a great supply of diversity, never allowing the listener to lose interest. To boot, the track provides the typical confident and arrogant lyrics that have made West the rapper he is:

"They say I was the abomination of Obama's nation, well that's a pretty bad way to start the conversation. At the end of the day, god dammit I'm killin' this shit. I know damn well y'all feelin' this shit."

'All of the Lights' might be one of Kanye's greatest feats. What eventually turns into one of the best pop songs of 2010, begins with a surreal interlude of strings and pianos that gently float through the speakers. As the song begins, a french horn casually belts out the best hook on the album and you're sitting there thinking to yourself, 'wait, was that a french horn?' But in all reality, that sound and the tone of the horn is perfect and I can't think of any other instrument delivering that riff. This introduction alone sets the tone for the song as something triumphant and regal. The cast of guests on the track only confirms this, featuring Rihanna, Fergie, The-Dream, Elton John, Ryan Leslie, La Roux, Charlie Wilson and even Elton John! Once again the song is creatively structured with numerous breaks and shifts in pace, instrumentation and tones - making 'All of the Lights' Kanye's greatest pop record to date and impossible to get out of your head.

If 'All of the Lights' is West's greatest pop effort, then 'Monster' is his greatest rap effort. Filled with dark and eery samples and an insane old school beat, the track takes on a ominous personality. The track has an all star cast providing verses and rhymes that all stay within the dark theme of the song. Nicki Minaj quite possibly made her career out of her verse on 'Monster,' as she delivers line after line of forceful dialect. Everything about 'Monster' feels right. You can almost make the argument that the track could be about how the media perceives West as a monster of sorts. Even the chorus kind of addresses this metaphorically (at least it does in my head) as Kanye more or less says, 'you guys can call me a monster...but you're still going to my concerts and listening to my music...':

'Gossip, gossip, niggas just stop it. Everybody knows I'm a motherfuckin' monster. Imma need to see your fuckin' hands at the concert. Imma need to see your fucking hands at the concert. Profit, profit, nigga I got it. Everybody knows I'm a motherfuckin' monster."

'Devil In a New Dress' is one of the many surprises on the album. The track is a laid back, breezy six minutes of absolute bliss. The backing samples and instrumentation casually motor the song as you can't help but relax and nod your head up and down. If I was rich I would hop in my Benz, light a cigar, drive 55 mph on the highway with the windows down - blasting 'Devil In a New Dress.' As is one of the developing themes with the album, 'Devil In a New Dress' goes off into several variations, yet never straying from the original beat. As one of the later interludes appears to be finishing up, the electric guitar solos, pianos and strings intensify and build in strength. Just as the music is peaking we're met with a surprise, show-stopping verse from Rick Ross that reels us right back into the song and leaves us saying, 'where the hell did that come from?'

Kanye digs out the auto-tuner for 'Hell of a Life' and yet again pens up another hit. The song is the most electronic on the album with fuzzy synth bass lines and arpeggiators everywhere. Kanye, wisely, only uses the auto-tune for the chorus - but his mastery of this effect is worth note. If you use it constantly (see 808's and Heartbreaks), the effect can become annoying and cheesy very quickly. But when used briefly like on 'Hell of a Life,' you can really liven up the track and enhance not only the sound, but the feel of the lyrics.

I could go on for days about why 'My Beautiful Dark Twisted Fantasy' is the greatest hip hop album of the last decade, maybe even of all time. I didn't even get a chance to talk about the breakout single, 'Runaway' or the dazzling collaboration West did with Bon Iver in 'Lost in the World.' Kanye continues to prove that he is the best at what he does with this album as each track leaves me selfishly wanting more. The originality, ingenuity and foresight that he applies to his music is second to none. And he does all of this with a level of passion and commitment that simply put, just doesn't exist in the music world today (or at least as much as we would hope). Kanye completely buys into everything that he does - so it's no surprise that we're all buying his records. Is it cliched to say 'My Beautiful Dark Twisted Fantasy' is anything but the best album of 2010?

Tracks

1.) Dark Fantasy

2.) Gorgeous

3.) Power

4.) All of the Lights (Interlude)

5.) All of the Lights

6.) Monster

7.) So Appalled

8.) Devil in a New Dress

9.) Runaway

10.) Hell of a Life

11.) Blame Game

12.) Lost in the World

13.) Who Will Survive in America

WK49 - Glasser - Ring (6.5)

Released - 9/27/10

Label - True Panther Sounds

BLURB - Glasser's first full length sparkles with charming imagery and worldly tones. Listening to "Ring" makes you feel like you're wandering through some forest in a Disney movie. While this album isn't necessarily anything that mainstream music fans would sink their teeth into, it's surprisingly inviting and warm. If I had to classify this record it would fall somewhere in between dreamy electronic pop and avant garde. There is a precision and attention to detail with Glasser that fans of Dirty Projectors and Animal Collective can rejoice in. While "Ring" isn't in my personal musical arena (yet), you can't discount the fact that Glasser is amazingly talented and has a special way of illustrating ideas and themes through their unique orchestrations.

Rating - 6.5 out of 10

FULL STORY - Glasser had been getting some buzz right before CMJ this year, and having no clue who the band (which is a 'she') is - I figured I'd add them to my list of bands to see. Unfortunately the venue Glasser was playing (Coco66 in Brooklyn) was shut down due to over-capacity as she started playing her second song. From that point on I really put Glasser on the back burner and forgot about her until just recently, as I just now picked up their record.

'Apply' begins the record with ominous tribal beats and dark lines of synthesizers. It's actually pretty scary, I recommend listening to this song with the lights on. However, as the track grows, warmer textures do surface and you get your first impression of singer Cameron Mesirow's heavenly voice. The song remains much too slow for my liking, but at least now I know what I'm getting myself in to.

'Home' begins with a much more upbeat clap track as descending xylophone solos (yes, xylophone solos) form a simple, initial hook. From here on out the song takes on a gigantic, worldly atmosphere. Mesirow's voice shines and provides an endless depth to the song as string sections and reverb are funneled in by the truck-load. The track has an epic, larger than life quality to it and would be greatly served if it were to be thrown into the background of a film.

The best song on the album is 'Mirrorage,' and is likely the most uptempo. Chimes and bells add a shimmering glow to this track as once again Mesirow's vocals take center stage. Adding to the brilliance of this track, is the manner in which background lines of vocals are constantly being filtered in and out, with each phrase complimenting the previous one. The song has a very sincere and poetic tone that is carefully reflected in the lyrics:

"We live alone, we live alone. Unearthed, a great divide, a dark untrusted plane. The self a lonely terrain with temporary lines. How can I trust in you?"

"Ring" really isn't an album that has any hits on it. It doesn't have any stand out tracks - hooks and melodies are hard to come by. But that being said, the record does a tremendous job painting colors and moods through a collection of well thought out textures and instrumentation. Generally, each track fades seamlessly into the next, creating an album that plays more like one singular film score, as opposed to nine separate songs. While "Ring" isn't something I'll be listening to every day, it's definitely one of those records that's good to have around for a rainy day.

Tracks

1.) Apply

2.) Home

3.) Glad

4.) Plane Temp

5.) T

6.) Tremel

7.) Mirrorage

8.) Treasure of We

9.) Clamour

WK48 - Kisses - The Heart of the Nightlife (9)

Released - 11/16/10

Label - This is Music

BLURB - Kisses has been on my radar for the last four months. I had never really listened to them, but was hearing nothing but rave reviews from numerous magazines and web sites. They played several shows during New York's annual CMJ Music Festival in October and I made it a point to work their Glasslands showcase into one of my nights. The show literally blew me away. Kisses has an all too likable way of fusing dream pop, indie rock and dance all together in to this bright amalgamation of music. The album itself is filled with breezy, relaxing jams that would make the perfect soundtrack for a trip to the shore. Musically, the record is fairly simple, but always does a superb job of blending both electronica and lo-fi beach pop.

Rating - 9 out of 10

FULL STORY - Much of "The Heart of the Nightlife" has an eighties pop feel to it - from the melodies to the overall tone. 'Kisses' opens the album and is one of the best songs of the year, easily. A catchy progression of piano chords serves as the foundation while warm keyboard riffs provide a variety of hooks. The vocals are both calm and reposed, creating this laid-back summer vibe that matches perfectly with the music. Kisses also brilliantly employs digital clap tracks that creates a unique modern twist on a song that songs like it is straight out of 1988.

'Bermuda' is the second song, and is very much in the same vein as the opener. This time around the pace is slowed down slightly, but the hooks and melodies are just as present. Electronic keyboards and bright synth riffs continue with the eighties aesthetics, while the lyrics provide both a memorable and catchy chorus:

"Man it hurts me to do it, when my life's gone through it all. And I say I shouldn't, but you see right through it all. And it feels like changing fortune, there's a long way back. They say if the clock is right it's a bad time. Because you crushed my love."

Fans of Washed Out should rejoice in Kisses' sound. Both bands are eerily comparable, but Kisses may have taken the lead with "The Heart of the Nightlife" simply because of their ability to concisely deliver hook after hook. Washed Out, for the last two years, has easily been my favorite band - so it's both exciting and impressive to see a band like Kisses come out of nowhere and further develop the shoe-gaze, dream pop genre. Kisses is also all too likable and accessible. Whereas Washed Out tends to create these hazy, distorted pop gems (sometimes to the extreme), Kisses comes along and sort of cleans up the chaos, producing a much more listenable, pop record.

Title track, 'The Heart of the Nightlife' begins with a steadily building kick drum against a few organ chords that quickly turns into a disco beat before you realize what's happening. While the track is an instrumental, it is undeniably upbeat and infectious. Waves of effects and guitar riffs cycle in and out all while the beat continues to grow and evolve. The track kind of reminds me of much of Bibio's "Ambivalence Avenue" album and is filled with great beats, warm textures and a smooth collection of seaside guitar riffs.

I may be predisposed to liking, 'A Weekend in Brooklyn' primarily because I live in Brooklyn. But this track may be the most beautiful composed and produced on the record. Bursts of synth chords crash through the speakers like waves on the shore, creating an inviting atmosphere and relaxing vibe. One of the great things about Kisses is how they incorporate real instrumentation into their tracks. Granted much of the album is run through laptops and keyboards, but their infusion of electric guitars gives the record a sense of credibility that most of the lo-fi do-it-yourselfers just can't do. With 'A Weekend in Brooklyn' the song gently floats along, but after about three minutes of the same tones and sounds, the listener can easily become disengaged. To combat this, much like the band Memory Tapes, Kisses throws together a great collection of guitar riffs and solos that provide diversity and energy to the track as it builds to its completion.

'Midnight Lover' will literally make you get out of your seat and dance. From the first beat you can tell that you're going to fall in love with this track. There is an instant groove established from the myriad of clean guitar hooks and upbeat bass lines. Once again, we're flooded with riffs and melodies that bounce around our eardrums like a game of musical air hockey. Simply put, the song is incredibly fun and catchy, and the ironic lyrics only add to the enjoyment:

"I would like to take you out. I would like to take out for a nice steak dinner...just me and you."

"The Heart of the Nightlife" casually floats by with elegance and grace, yet somehow finds a way to be upbeat and exciting. The album as a whole has a very distinct vibe to it and always seems to put me in a great mood. Everything from the guitars to the electronic synthesizers feels warm and inviting, just begging you to listen. Even the vocals seem to match perfectly with the music. Granted, the vocals aren't anything amazing, but there is a subtle confidence and swagger there that cleverly mixes with the music in a very light-hearted fashion.

Back in Pennsylvania, I tend to spend a lot of time in our hot tub, usually blasting music and enjoying a few Yuenglings. Kisses is perfect hot tub music. It's relaxing, but not boring. Exciting, but not chaotic. And listening to the album instantly conjures up images of going to the beach and laying out in the sun. The only thing that appears unfortunate about 'The Heart of the Nightlife" is that it was released in the cold of November. But all this really means is I'll have to wait until June to throw this on my iPod as I catch the N train to Coney Island. Until then, it's to the hot tub I go.

Tracks

1.) Kisses

2.) Bermuda

3.) People Can Do the Most Amazing Things

4.) On the Move

5.) The Heart of the Nightlife

6.) Lovers

7.) A Weekend in Brooklyn

8.) Midnight Lover

9.) Women of the Club

WK47 - Deerhunter - Halcyon Digest (9)

Released - 9/27/10

Label - 4AD

BLURB - Deerhunter is quickly becoming a household name among the experimental-indie music community. I even saw them on Conan the other night. The group has been around for quite a while, releasing several acclaimed albums, but it looks like "Halycon Digest" may be their best to date. This record has the depth and space to patiently win over fans, myself included. "Halycon Digest" has an uncanny ability to produce warm, lush tones that contrast with much of the album's dark and interpretive lyrics. With each listen you hear new sounds and effects that make a listening to the album a learning process in itself. You can literally feel your musical taste evolving just by pressing play.

Rating - 9 out of 10

FULL STORY - 'Earthquake' begins the album with random computer drum beats and dark tones as a glowing acoustic guitar riff wanders around the musical abyss. As the song grows and takes shape, clouds of hazy, reverb-tinged synth continue to paint the song with a dark atmosphere. The song takes on a somewhat hopeful personality as with each crashing wave of ominous fuzz and confusion, the initial sparkling guitar riff continues to resurface.

The third track, 'Revival' has a great throwback indie-folk flair to it. The song has the obligatory modern lo-fi production values, but the chord progression is catchy enough to illustrate just how important the underlying songwriting to a track is. 'Revival' may only be two minutes long, but it has a timeless quality to it that makes the song feel both relevant and strangely modern.

'Memory Boy' is much in the same vein of 'Revival' and could be the most pop track on the album. Despite the song's bedrock being an acoustic guitar and a drum beat, the track is stuffed with bright waves of reverb, harmonicas and bells. The track feels incredibly full and large. Phil Spector is somewhere smiling right now listening to 'Revival' and admiring how Deerhunter effectively managed to incorporate so many distinct tones and instruments, with the song remaining remarkably unified.

'Basement Scene' has a charming 60's pop feel that is disguised by the incredibly lo-fi nature of the song. The vocals have a dizzying level of delay that makes the song sound like it was recorded under water. The guitar has a warm yet dark tone that conjures up youthful feelings of unrest and depression which is further complimented by the lyrics:

"Dream a little dream about the basement scene. I don't want to wake up, no. If you've seen the light turn gold, come out tonight. And we'll all get stoned - I don't want to get old."

For me, 'Helicopter' is the absolute stand-out track of "Halycon Digest." The lead guitar riff has a dazzling harpsichord effect that makes it jump through the speakers. Once again floods of hazy reverb permeate the track, mainly during the chorus as a point of emphasis. The vocals on 'Helicopter' are also worthy of note. There is an apathetic sense of defeat in the words that ironically comes off as passionate and enlightened. As each second passes in 'Helipcopter' you find yourself listening more astutely and really trying to throw yourself into the song. Musically, the song appears to have a traditional construction, but Deerhunter varies the vocals so as to never repeat the lyrics from any one chorus - creating a song that plays more like a journal entry than a song:

"My final days in company. The devil now has come for me and helicopters are circling the scene. And I pray for rest. Could you pray for us? We know he loves you the best, we know he loves you the best. The lights inside my cave...I'm tired of my cave. Oh these drugs they play on me these terrible ways. They don't pay like they used to pay. I used to make it day to day."

I really thought I wasn't going to enjoy Deerhunter...aside from hearing a couple of older songs by them, I had only really listened to frontman Bradford Cox's solo efforts (Atlas Sound), which I thought was terrible. But with Deerhunter's "Halycon Digest," there is an incredible amount of diversity to the album that forges past other indie rock releases from this year like The National's "High Violet" and The Arcade Fire's "Suburbs." Deerhunter has a subtle way of infusing color and emotion into their pieces that strangely reminds me of Animal Collective and never seems to get old. Granted some of the songs sound a bit muffled and fuzzy, but the lo-fi recordings provide a credible authenticity to the album, delivering a strong sense of character. "Halycon Digest" plays like a reading of extremely personal diary entries that were written in a dimly lit basement at three in the morning, and so to have the musical components of this album sound like they were recorded in anything but a dark basement, only further enhances the end product.

While some of the album does venture off into some back alleyways and more experimental avenues, the overall collection of songs really flourishes. I think I'd be able to live without the more stagnant and unadventurous tracks like 'Don't Cry' and 'Sailing,' but as a whole, "Halycon Digest" fails to disappoint.

Tracks

1.) Earthquake

2.) Don't Cry

3.) Revival

4.) Sailing

5.) Memory Boy

6.) Desire Lines

7.) Basement Scene

8.) Helicopter

9.) Fountain Stairs

10.) Coronado

11.) He Would Have Laughed

WK46 - Nicki Minaj - Pink Friday (4)

Released - 11/22/10

Label - Cash Money Records

BLURB - Who exactly is Nicki Minaj and why is everyone talking about her? After rising through the Cash Money ranks the last two years, Minaj is out to prove that she is the next great female hip hop artist. Recently, she displayed her talents spitting out one of the hottest verses this year on Kanye West's 'Monster.' What's uncertain is if Minaj has the staying power to prove her haters wrong, and that she actually is the second coming of L'il Kim. But if you ask me her act is all too gimmicky and so obviously prefabricated that it's impossible for her to ever become the credible rapper she's aspiring to be. That being said, she does have some great pop tracks on 'Pink Friday' lending me to believe that she should just focusing on creating solid hip hop / pop songs as opposed to trying to perfect her image as the greatest female rapper alive. That one's just not in the cards.

Rating - 4 out of 10

FULL STORY - Minaj's "Pink Friday" came out the same day as Kanye West's most recent record and I was shocked to see the amount of people picking it up at Best Buy. It seemed like everyone had it in their hand, and so I figured I better pick it up as well. I had really only known Minaj from various tracks that she had guested on, and so I was extremely curious to see what a Nicki Minaj solo album would sound like. But listening to the record only confirmed my suspicions that she really isn't anything special. Her rhymes all sound forced and the actual lyrics are overly simple, cheesy and uncreative. What does help Minaj is that she has the support of the industry, as veterans like Kanye West, Rihanna, Eminem and Drake all make appearances.

Invariably, the tracks that feature hip hop's heavy hitters bring a level of credibility that Minaj simply is too young to provide. 'Fly' (featuring Rihanna) brings with it an accessible pop influence that slowly grows on the listener. The song has a likable quality and uplifting feel to it, and is destined to climb the Billboard charts, should it be released as a single.

'Moment 4 Life' has a great party vibe and features one of the most popular new emcees in Drake. If pop culture has taught me anything, it's that people will like this track regardless of how it sounds - simply because it's Nicki Minaj and Drake. But the song actually is one of the best on the record and the duo sounds amazing as they trade off verses. The chorus, however, is very weak, but then again who cares about the chorus on a track with two of hip-hops rising lyricists.

Minaj also shines with Kanye West on 'Blazin,' a track that is uptempo and ready for the club. Synths and snare drums fill this song with a killer groove that is hard to stop listening to - although, one can't help but think that this was done as a favor by Kanye West in exchange for her dropping that insane verse on 'Monster.'

What's disappointing is that these are the only real bright spots on "Pink Friday." Much of the album is all too gimmicky and feels too much like a marketing plan. The record also has a blandness to it that never seems to entirely dissipate and making it incredibly average. 'Your Love' and 'Check it Out' are by far two of the cheesiest, annoying songs that I've ever heard. If Minaj is trying to become the best female rapper out there, by definition, she can't do songs like this. What she should be doing is more tracks like 'Roman's Revenge' with Eminem, despite how vulgar and obscene it comes off. At least she is rapping with energy, passion and conviction on those tracks. Minaj needs to make up her mind, decide what exactly she wants out of her career, and do it. Enough with the wigs and hype already.

Tracks

1.) I'm the Best

2.) Roman's Revenge (ft. Eminem)

3.) Did it On'em

4.) Right Thru Me

5.) Fly (ft. Rihanna)

6.) Save Me

7.) Moment 4 Life (ft. Drake)

8.) Check it Out (ft. Will.I.Am)

9.) Blazin' (ft. Kanye West)

10.) Here I Am

11.) Dear Old Nicki

12.) Your Love

13.) Last Chance (ft. Natasha Bedingfield)

WK45 - John Legend & The Roots - Wake Up! (4)

Released - 9/21/10

Label - G.O.O.D. / Sony Music Entertainment

BLURB - I really wanted to be able to call "Wake Up!" the best album of 2010. I've been one of John Legend's biggest fans for the last five years, and after The Roots released "How I Got Over' I literally threw myself on to their bandwagon. The Roots and John Legend doing an album together...it should be magic. But somewhere between the drawing board and the studio, the collaboration lost it's luster. The fact that "Wake Up!" is essentially a cover album of political anthems from the 60's and 70's shouldn't stop this duo from shining, right? Unfortunately, it does and really restricts the passion, fun and creativity that both acts have become known for.

Rating - 4 out of 10

FULL STORY - Sometimes it's good to have a script. It's good to have a plan and everything laid out in front of you. But when you're a creative artist, known for your passion and spontaneity, creating a cover album of outdated political and civil anthems may not be your strong suit. "Wake Up!" is mired in tepid tracks of flailing energy and forced inspiration. I know I'm not the only person that feels this way. I actually had the chance to see John Legend & The Roots perform the album in it's entirety twice (in Brooklyn & Manhattan) and each time the crowd's energy was teetering on the border of comatose. The most ironic part of this, was that at each show, the album sounded a thousand times better than the record. The musicianship was precise, the energy was up - yet the crowd was just not into it, with the exception of a few people.

When listening to the album it feels too much like sitting in the back of history class while the teacher plays some black and white film about the Vietnam War. Fortunately, 'Hard Times' comes out of the gates swinging and is the most energetic and dynamic track on the album. The pounding bass is the perfect match for John Legend's soulful voice, and is complimented by clean guitar riffs and a dazzling horn section.

'Compared to What' comes with a decent 60's rock vibe but never amounts to anything. The track feels and empty and is devoid of enthusiasm. The chorus, at first listen, sounds like it has the potential to be some triumphant orchestration, but really lacks in energy and depth. If it wasn't for the phenomenal bass riffs in the chorus, I literally wouldn't know what to do with myself.

Black Thought (of The Roots) shines on 'Little Ghetto Boy,' a song that has actually grown on me the more I listen to it. The verses have a raw and authentic vibe, courtesy of Black Thought's original style and flow. The choruses and bridges also have a distinct pop-soul feel that comes off as both introspective and real. You can really feel the passion in Legend's voice on this one.

What's troubling is that these are the only bright spots of the album. 'Wake Up Everybody' comes off as cheesy and plain. 'I Can Write Left Handed' has a gospel vibe that I just can't get in to. 'Wholy Holy' is painfully slow and unexciting. As it turns out, what I thought would be this glorious collaboration between two stars of the R&B and hip hop worlds, ultimately turns into some failed experiment that few will even remember ever happened in a couple of years. You'd really think that with the amount of ingenuity and creative brain power that The Roots and John Legend have, they would have been able to dial up something a little more dynamic - and maybe they did - but it just doesn't transfer to the record.

Tracks

1.) Hard Times

2.) Compared to What

3.) Wake Up Everybody

4.) Our Generation

5.) Little Ghetto Boy (Prelude)

6.) Little Ghetto Boy

7.) Hang On in There

8.) Humanity (Love the Way It Should Be)

9.) Wholy Holy

10.) I Can't Write Left Handed

11.) I Wish I Knew How It Would Feel to Be Free

12.) Shine

WK44 - Dr. Dog - Shame, Shame (8)

Released - 4/2/10

Label - Anti, Inc.

BLURB - For about two years I refused to listen to Dr. Dog because I thought it was one of the stupidest band names I've ever heard, even though they were from Philly. I still think that today, but I've finally started listening to them. Dr. Dog has certifiably been a part of the recent indie-folk explosion that's been sweeping the music scene the past five or so years, bringing with it the likes of Dawes, Delta Spirit and Deer Tick. Maybe that's why Dr. Dog chose that name for their band, it's got two D's in it. Aside from the obligatory D-name, Dr. Dog brings with them all of the credible chops needed to succeed in this flourishing sector of rock and roll.

Rating - 8 out of 10

FULL STORY - Much of "Shame, Shame" is filled with warm tones and great depth, giving the record a sense of honesty and sincerity. Dr. Dog employs two separate and distinct vocalists (Scott McMicken and Toby Leaman), something that is not as common as perhaps it should be. With two vocalists, the album becomes twice as diverse and covers a broader range of colors and textures that never could never be reached with just one. The music is a standard fair of electric and acoustic guitars and piano. I want to be careful with really over-labeling Dr. Dog as an indie-folk band. While this tag can certainly be argued, the band does tend to lean slightly towards more of a classic rock feel.

'Stranger' begins the album with a storytelling feel that is both organic and patient. The track does a formidable job introducing new listers (such as yours truly) to their brand of rock and roll. The music brings together multiple guitars and vocal harmonies that surface throughout each chorus. 'Stranger' never gets too heavy and casually breezes along with a sense of informality that allows the listener to drop the guard and simply listen along. The song has a relatable collection of lyrics that plays more like a phone conversation than a song:

"Twenty years of schooling, I just never learned the math. That one and one don't equal two, they often equal half. While I've tried to live the high life the best that I know how, I bought my share of debonair, parlaying it on the crowd."

'Unbearable Why' speeds the tempo up a bit and prominently displays a catchy collection of piano riffs that serve as the hook. Also contributing to the catchy-nature of the song, are a series of vocal harmonies between the band's vocalists that pop up around every corner of the track. The song also features a great bridge, which dramatically changes the pace of the song and then steadily builds up to one last chorus, lending itself an increase in both passion and conviction.

The best track on the album is 'Where'd All the Time Go?' There is a classic and timeless feel to the song that makes it instantly likable. As with 'Unbearably Why,' once again we have a great collection of vocal harmonies that help paint rich colors and tones around the lyrics. Structurally, the song is cleverly planned out and always seems to be moving in the right direction. Musically, it'ss incredibly simple, yet broken out into separate and distinct sections that never allow the listener to become disengaged. Several subtle guitar riffs and progressions help to change the pace and clearly outline portions of the song, while an underrated bass line steals the show and serves as the backbone of the track. As the song moves along you can slowly feel the emotion and sincerity growing through both the music and the lyrics:

"There's nothing to keep you from falling in love. It starts at the bottom and comes from above. Like pieces of a puzzle, like a hand in a glove. She gets dressed up like a pillow so she's always in bed. Flowers for the sick and dead. She's on the go, way too fast and way too slow. She'll turn to stone in hospitals and funeral homes. And when the tide rises, somebody sinks and is gone in the blink of an eye."

'Jackie Wants a Black Eye' has a great campfire atmosphere that is both fun and enjoyable. Tambourines and claps are that status quo on this song, while much of the vocals are sung by the entire band. The track speaks volumes to the appeal of Dr. Dog. It's loose, informal and feels like drinking some beers with a bunch of friends after work. "Shame, Shame" does run into some hurdles with a couple of their songs though. 'Station' and 'Later' are both somewhat repetitive and boring, creating two noticeable hiccups if you're trying to listen to the album straight through. Overall though, Dr. Dog's "Shame, Shame' is a pleasant surprise that will leave you light hearted and in a good mood. The only thing thats left to do is change their name.

Tracks

1.) Stranger

2.) Shadow People

3.) Station

4.) Unbearable Why

5.) Where'd All the Time Go?

6.) Later

7.) I Only Wear Blue

8.) Someday

9.) Mirror, Mirror

10.) Jackie Wants a Black Eye

11.) Shame, Shame

WK43 - Wavves - King of the Beach (1)

Released - 8/3/10

Label - Fat Possum Records

BLURB - Wavves has gotten by on potential and expectations for most of his career. He's openly dating one of the pioneers of the lo-fi indie-pop movement, Best Coast's Bethany Cosentino. And like her, Wavves' Nathan Williams was all but set to serve as the King to her Queen. But Williams lacks the drive and honestly, the talent, to ever even dream of turning into a respectable artist. His songs largely match his personality - annoying, brash and uninspired. With track names like 'Super Soaker', 'Baseball Cards' and 'Mickey Mouse' I knew I wouldn't be able to expect much, even before I listened to the record.

Rating - 1 out of 10

FULL STORY - I read a biography on Wavves several months back when he was starting to gather some buzz. The article revolved around how Williams became involved with music as a teenager by just recording himself in his bedroom with a guitar. The biography should have been just that one sentence because that is exactly what "King of the Beach" sounds like. The most poignant part of the article focused on Williams describing how nobody 'got' his sound, and how, because of that, he decided to push forward and keep creating his own unique brand of noisy surf-punk songs. Well the only reason nobody 'got' it was because there was nothing to get. What's worse is Wavves has a terrible sense of entitlement and truly believes that his songs about smoking pot and sitting on the beach are somehow breaking new ground.

Title track "King of the Beach" opens the album with Williams constantly switching the distortion pedal on and off and singing about nothing in particular. I certainly wouldn't consider this music by any definition. You could make the argument that there are some hooks in there, but that is really stretching it. If you're one of the other members in Wavves, you've got to approach Williams and tell him you just can't shout "King of the Beach" a few time in a row and call it a day.

'Super Soaker' brings with it more terrible (and now whiny) lyrics and enough power chords to fill Blink 182's entire catalogue. The song quite possibly sets back music a good century. Williams feverishly strums through a few chords while shouting into the mic, causing widespread headaches and disappointment. By the time the song ends (which is only two minutes) you literally feel dumber.

Argued to be the single, 'Post Acid' leaves much to be desired and begs the question, is this even a song? Taking the noise-rock genre label to an entirely new level, the track has no discernible musical quality and is just Williams yelling over extremely distorted guitars. You could make the point that the song does have a bridge though, because the music does slow down and Williams actually yells even louder.

I don't know how anybody could like or listen to Wavves on a regular basis. It's really just noise and some punk kid with a guitar. This noise-pop genre that has been associated with acts like Wavvess, Surfer Blood and Best Coast is based on the premise that you are essentially drowning out hooks and melodies with waves (no pun intended) of distortion and haze, creating these ironic and nuanced tracks that at their core, remain catchy and melodic - something that both Surfer Blood and Best Coast do incredibly well. Unfortunately, Wavves and Nathan Williams are still trying to figure this out.

Tracks

1.) King of the Beach

2.) Super Soaker

3.) Idiot

4.) When Will You Come?

5.) Post Acid

6.) Take On the World

7.) Baseball Cards

8.) Convertible Balloon

9.) Green Eyes

10.) Mickey Mouse

11.) Linus Spacehead

12.) Baby Say Goodbye

WK42 - Tame Impala - Innerspeaker (10)

Released - 6/28/10

Label - Modular Recordings

BLURB - After already delivering Miami Horror, Australia strikes yet again this year - giving us one of the most promising young rock bands I've ever heard in Tame Impala. Conjuring up psychedelic overtones, fuzzy 60's arena rock and subtle Brit-pop hooks, Tame Impala is already creating music that is wise beyond their years. The group has seemingly picked up the baton bands like Wolfmother and The Vines have dropped, and are sprinting through the labyrinth that is today's indie rock scene. "Innerspeaker" effortlessly bridges the gap between 2010 and 1960, revisiting the creative passion and musical exploration bands like Pink Floyd and The Beatles became known for.

Rating - 10 out of 10

FULL STORY - For the majority of the last decade, musical progression and evolution has been siphoned through wires, buttons and laptops. While there were certainly great strides in music, most of them were electronic. With "Innerspeaker," Tame Impala is earnestly trying to push music forward, but in their own organic manner, going against the 'do-it-yourself' electronic grain that has all but taken over the industry. The album itself is filled with lush colors and wandering themes that twist and turn throughout the record. The musicianship is unparalleled for a band that is in such a young stage of the career. Only enhancing their talent and creativity, is this tangible, raw and authentic passion that drives their tracks forward with force and absolute conviction. Listening to the album straight through is almost the only way to proceed with "Innerspeaker." Like a great classic rock station that just seems to be playing hit after hit, you keep finding ideas, concepts and motifs that re-surface, morphing into even richer tones and moods as you work your way deeper into the album

'It's Not Meant to Be' starts off in appropriate fashion, steadily adding hazy and psychedelic guitars until your head starts to spin. As the vocals prepare to come in, the guitars briefly drop out, and we hear the majesty that is Kevin Parker's voice. Sounding like the second coming of John Lennon, Parker's voice is intoxicatingly perfect for the music. There is an apathetic confidence and arrogance that gently floats along with each swirling guitar chord.

'Desire Be Desire Go' breaks through the dizzying, atmospheric tones of the opening track, shifting to some deserted highway where you're speeding with the windows down and the music blasting. The fuzzed-out guitars and massive waves of distortion only propel the song forward, creating great warmth and imagery. There is a naturally rebellious and youthful feel to 'Desire Be Desire Go' that reminds you of your first time listening to Jimi Hendrix.

The third track, 'Alter Ego' is another hallucinogenic trip of psychedelic reverb and screeching guitars that will freely roam through your speakers, being restrained by only the pace of the snare drum. The song spins and dances in circles, but never becomes too chaotic to bear, as the lyrics are presented as an introverted conversation, filled with echo and uncertainty:

"Said the voice from afar, don't you know it doesn't have to be so hard? Waiting for everyone else to agree might take too long. When it won't be so hard, it won't be so hard. Well it's true, yes, but you won't get far telling me that you are all you're meant to be, when the one from our dream is siting right next to me and I don't know what to do. Oh, alter ego."

One of the greatest components of "Innerspeaker" are the subtle and clever ways Tame Impala weaves hooks and melodies throughout their tracks. Both 'Lucidty' and 'Why Won't You Make Up Your Mind?' are perfect examples. The tracks are both layered with sonic rock and exploration, but somehow they retain a pop sensibility that keeps their listeners' attention and focus. Much of this is done by assembling recurring guitar riffs and vocal lines that help guide you through their cloudy maze of progressive rock. This attention to detail and awareness allows their music to be extremely explorative and colorful without ever losing anyone along the way.

"Innerspeaker" also veers off on to several side streets throughout the record. There are several instrumentals that develop and nomadically travel through your headphones, feeling almost like you're listening to Pink Floyd's "Dark Side of the Moon." Moods and environments are constantly changing on 'Island Walking' as the track sends you down the rabbit hole. The song also has a Phish-like quality to it, while never getting too jammy or tired. The track also provides a nice change of pace on the album before returning to the anthemic fuzz rock of 'Jeremy's Storm.'

If there's one thing you can take away from this album, it's that despite what some say, the passion and free spirit of the 60's is still alive and well. From start to finish, "Innerspeaker" is one of those ingenious albums that has a great sense of accomplishment, diversity and fulfillment to it. However, it is unfortunate that something as original and epic as this would come out in 2010, an era that is constantly recycling music and changing tastes daily. You can't help but think...if it was 1967 and Tame Impala just debuted this record, they more than likely would have been well on their way to the way to the Rock and Roll Hall of Fame with The Beatles, Hendrix and the rest of 'em.

Tracks

1.) It's Not Meant to Be

2.) Desire Be Desire Go

3.) Alter Ego

4.) Lucidity

5.) Why Won't You Make Up Your Mind?

6.) Solitude is Bliss

7.) Island Walking

8.) Jeremy's Storm

9.) Exepectation

10.) The Bold Arrow of Time

11.) Runaway Houses City Clouds

12.) I Don't Really Mind

WK41 - Matt Costa - Mobile Chateau (5.5)

Released - 9/21/10

Label - Brushfire Records

BLURB - I had forgot Matt Costa existed for the last year or so. Costa broke ground about five years ago after signing to Jack Johnson's label (Brushfire Records), spitting out charming acoustic pop tracks like 'Cold December,' 'Mr. Pitiful,' and 'Sunshine.' On "Mobile Chateau," Costa is out to prove that his music has matured by leaps and bounds. He's not just that guy with the guitar anymore. The production of this album is filled with warm reverb and echo-tinged vocals, creating a very old-timey, nostalgic feel. That being said, the album feels a bit forced and unnatural for Costa, and fails to reach the potential that we all know is there.

Rating - 5.5 out of 10

FULL STORY - The most noticeable difference between "Mobile Chateau" and Costa's previous works are in the tone and texture of the production. In years past, Costa was merely just an acoustic singer/songwriter, much in the vein of Jack Johnson or Matt Nathanson. On his newest record there is dramatic shift in the presentation and instrumentation of his songs. Everything from pianos, to strings, to harmonized vocals surface on the album, in an effort to bring a richer quality to his works.

'The Season' opens up the record, filled with fuzzy reverb and echos galore. Almost too much. At points there is so much reverb that it's difficult to discern the instrumentation, which is actually quite nice. The pace of the song is somewhat slow, but when matched against the reverb and background harmonies of the chorus, it creates a very dreamy feel.

'Drive' is bright and bubbly track that revolves around a great descending piano riff. The song almost has a ragtime feel and definitely does not sound like it was made in 2010. The simplicity of the song works for and against itself here, as there are really only two sections bouncing back and forth (verse and chorus). It works in that the piece is catchy enough to initially reel you in, but it never really develops into a song. It sounds more or less like a couple of pretty good ideas that were converted into a song. I think even Costa realizes this as the track only lasts 2:28.

Sounding like something The Beatles would have written, 'Witchcraft' dances around as the clear cut best song on the record. There are numerous changes in pace and intensity on the track that help fuel the song, giving it a very real energy. Guitar riffs help to outline the song and provide some great musical hooks that work in unison with Costa's vocals. But at the 2:34 mark the song transforms into this odd, mellow outro that sounds out of place and unnecessary. I'm not sure what Costa was trying to accomplish, but it really kills the song. The only reason I still think 'Witchcraft' is the best song on the album is because I just stop listening after the 2:34 mark.

'Secret' has a subtle, motown-pop vibe that will catch you by surprise if you're listening close enough. The track is strangely calming and remains fairly downtempo, while Costa's vocals are soft and subdued, almost as if he's telling a...secret. See what I did there? What's missing from this track, however, is some kind of hook. The song is orchestrated well enough so it's appealing to your ears, but there are no melodies or catchy lines that will keep you engaged.

I'm sorry to say, this wasn't the album I was hoping for from Matt Costa. His strengths over the years have been in his ability to deliver clever and witty hooks over bright acoustic guitars. On "Mobile Chateau" we really don't see any of this, and much of the album is drowned in waves of haze and reverb. The idea and the effort to make a more mature and fuller-sounding record were there, but unfortunately it comes off sounding forced and uninspired.

Tracks

1.) The Season

2.) Johnny's Love of Majik

3.) Drive

4.) Mobile Chateau

5.) Can You Tell Me

6.) Idol

7.) Witchcraft

8.) Painted Face

9.) Bleeding Hearts

10.) Secret

11.) Strings of Change

12.) Next Time

13.) Mayor Harrison

WK40 - Two Door Cinema Club - Tourist History (9)

Released - 4/13/10

Label - Glassnote

BLURB - This time next year I'm pretty sure everyone will know who Two Door Cinema Club is. Hailing from Ireland, the band has just begun to surface in the states, and look to be here for a while. Two Door Cinema Club blend a unique sound all their own, fusing indie rock against bright europop dance beats, with the end result almost always being amazing. This sound, coupled with the band's natural knack for delivering hooks and melodies, create the perfect formula for pop music. Good luck not liking this record.

Rating - 9 out of 10

FULL STORY - I saw one of Two Door Cinema Club's first shows in New York City a few months back and it only reiterated the notion that this band should, and will, get big. The crowd was electric, with nearly everyone shouting the lyrics along with singer Alex Trimble. It's worth saying, I was probably one of the older people there (I'm 25) and the demographic looks to be somewhere between 16-21. That being said, this only proves how likable and great they are, as I was unashamed to be right there singing along with the 18 year olds.

The album opens up in proper fashion with 'Cigarettes in the Theatre.' After a brief sampled drum introduction the track kicks off with some simple, yet great guitar riffs over a disco beat. Right away you can feel the energy of the song shining through. The production and precision of the band is very impressive as each instrument comes off extremely polished and crisp. The guitars and distortion get cranked up during the chorus, providing a powerful lift in texture while not being overwhelming.

'Undercover Martyn' is another frenetic song that does a tremendous job in varying it's pace and tempo. The verses, for the most part, are very low key and relaxed but are always continuously building up to the chorus. Throughout the album, Two Door Cinema Club show that they have a serious knack for delivering powerful and dynamic choruses. 'Undercover Martyn' is no exception, and in this case the chorus is beautifully outlined by several catchy guitar riffs.

The album slows down a bit for 'Do You Want It All' and 'This is the Life.' This gives Two Door Cinema Club the opportunity to showcase their versatility and musical dexterity. While these tracks are noticeably down-tempo, they never drag on or become too slow, and they do both speed up in the outros. But this slower pace allows the band to create a great sense of mood and atmosphere as they subtlety filter in some synth and carefully crafted electronic effects. The feel of their songs are also always uplifting and positive as reflected in the lyrics to 'This is the Life:'

"Feel something right and feel some good. Because if one thing works, you might know it's true. Because if this is the life, this is the life. Then who'd argue?"

'Something Good Can Work' is likely my favorite track on the album and is filled with positive energy and enthusiasm. The song has a slew of great pop melodies and a danceable groove that will appeal to fans of everyone from Phoenix to Passion Pit. The clean guitars and disco drum beats mesh perfectly with one of the better bass lines that appears on the record. The natural dance influences to this song have helped spread 'Something Good Can Work' around the world as numerous DJ's and artists have released remixes to this song including Crookers and The Twelves.

The main theme that comes out of "Tourist History" is just how fun good music can be. When delivered with the passion and talent that Two Door Cinema Club clearly have, it's almost impossible not to take notice. Their sound alone is impressive - the way in which they create these hits while not being too 'rock' or too 'dance,' is so creative and unique that it always leaves you wanting more. This unique blend will likely transform the band into a household name thanks in part to it's immense marketability. Two Door Cinema Club are still relatively new, yet they already have had their music placed on several television shows both in Europe and the United States. If there's one thing thats certain, it's that 2011 will be a big year for Two Door Cinema Club.

Tracks

1.) Cigarettes in the Theatre

2.) Come Back Home

3.) Undercover Martyn

4.) Do You Want It All?

5.) This is the Life

6.) Something Good Can Work

7.) I Can Talk

8.) What You Know

9.) Eat That Up, It's Good For You

10.) You're Not Stubborn