WK12 - The Morning Benders - Big Echo (9.5)

Released - 3/9/10

Label - Rough Trade

BLURB - First off, The Morning Benders clearly have one of the better band names I've heard over the past few years. It can literally be interpreted in about 1,000 different ways. I have my own take on what exactly a "Morning Bender" is. But for those who don't have their heads in the gutter, The Morning Benders are definitely one of the better, feel good stories of the year. Here we have a great, young band fully coming into their own on just this, their sophomore effort. As the title "Big Echo" would suggest, this record is filled with big sounds, layers and, well...echo. Despite their youthfulness, The Morning Benders appear wise beyond their age combining sophisticated melodies that will have fans of everyone from Grizzly Bear to old school Paul Anka, nodding their heads.

Rating - 9.5 out of 10

FULL STORY - Coming right out of the gates is one of the best songs 2010 will offer in "Excuses." This opening track is filled with warm colors, layers of sounds and interesting percussive elements. Comprised of mostly acoustic instruments and string sections, "Excuses" is airy enough to casually breeze past your ears, yet heavy enough to hold substance and weight. There is also a very addictive quality to Chris Chu's vocals, mixing baroque, lounge and pop styles.

The second track "Promises" is much more rock influenced, but is still filled with melodies and an indie pop sensibility. Vague comparisons could be made here to the sound of Grizzly Bear's 'Veckatimest,' especially with regards to the percussion and background vocals. There also seems to be the perfect amount of fuzz and ambient noise to accent the song and vocals.

"Wet Cement" is the first song on the album that really slows down in pace. The entire track feels like it's gently floating down a river. The drums and the bass lock tightly together during the verses, keeping the song on course in repetitive fashion that never proves too monotonous. "Wet Cement" also does a good job prefacing the more uptempo "Cold War." This fourth track is bursting with raw energy, excitement and hand claps galore. Much like "Excuses," "Cold War" sounds as if it were plucked out of the 60's. The majority of the track is merely a catchy acoustic guitar progression, but the choruses are huge. So far, this is the track on the album that I cannot get enough of, however clocking in at only 1:44, I'd love to see it go a little longer.

Another powerful song on the record is "Hand Me Downs." The track is filled with passion and emotion, yet varies in pace and intensity. This accomplishes many things, but most importantly it helps to personify the song and give it a unique character. Once again in this track we're met with the clever fusion of lo-fi haze and pop melodies - something The Morning Benders are slowly perfecting.

Big Echo drums up the closest thing to a dance number on "All Day Day Light." This track is filled with catchy riffs and hooks everywhere. The chorus turns a little foggy and chaotic, but the verses are very tight and remind me somewhat of a Phoenix-style song.

When you really sit down and listen to this record and try to critique it, you'll find it's fairly difficult task. There is so much right with this record. Everything from the instrumentation to the writing to the general feel of the album works...and sounds amazing. Do yourself a favor and buy the record - it's likely worth your $9.99.

WK11 - Broken Bells - Broken Bells (7.5)

Released - 3/5/10

Label - Sony Music Entertainment

BLURB - What happens when you combine equal parts Gnarls Barkley and The Shins? Apparently, you get Broken Bells. While this fusion isn't some kind of transcendent, ground breaking Run DMC - Aerosmith collaboration, it certainly reminds us that there are creative people out there, willing to experiment with their sound. Broken Bells doesn't really jump off the speakers and there are no real jaw dropping flashes of brilliance, but quietly this album holds it's own. If anything (likely due to the vocals) this album leans more towards The Shins than Danger Mouse and Gnarls Barkley, but fans of both should be able to enjoy this.

Rating - 7.5 out of 10

FULL STORY - In my opinion, this album seems to be an augmentation of The Shins sound, more so than anything else. I recognize the fact that the only Shins participant is James Mercer, but it seems he was able to bring some of The Shins' trademark melodies and songwriting styles to the table. Danger Mouse, on the other hand seems to merely interpret these assets, finding a way to present them in different manner. What this means is more organs, keyboards and effects. I was kind of hoping for a more hip-hop and urban-sounding record, but unfortunately this is not the case. Overall the album sounds like a very laid back and mellow Shins record. The Shins themselves are a hard band to label. Some of their songs are frenetic and uptempo, others are heavily-folk influenced, while others are straight up pop.

I was kind of taken aback when I saw Broken Bells' first single on MTV the other day. If nothing else it was just weird. "The High Road" is easily the best track on the album. This song actually finds a subtle way to mix aspects of alternative folk with synthesizers. The styles and instrumentations never directly battle each other, which makes for a seamless and pleasant ride. What does stand out on the track are the choruses. Maybe it's just James Mercer's voice, but the chorus and the ending refrain are easy to get addicted to.

"Vaporize" starts off quietly with Mercer and an acoustic guitar, but before long it is flooded with heavy, wet organs. It's a nice contrast of sounds, because Mercer's vocals are usually very light and breezy. The lyrics support the music very well, creating open themes of dreams, confusion and realization.

"What amounts a dream anymore? A crude device, a veil on our eyes. A simple plan, we'd be different from all the rest and never resign to a typical life."

"Your Head is On Fire" is a unique throwback. I can't explain it but the track really feels dated, but in a good way. There is also a cool fusion of trippy synth lines and string sections in the middle of the song, which for some reason works.

You can kind of use "Your Head is On Fire" as a microcosm for the album as a whole. There are some musical stretches and interesting interpretations, but they are few and far between. If anything - Broken Bells appears to be a calculated risk, occasionally sprinkling in some 'outside the box' colors, tones and ideas. There really isn't anything overly new or transcendent on the album...just sounds like The Shins with a twist. It's a good (not great) record, but definitely worth giving a listen.

Tracks

1.) The High Road

2.) Vaporize

3.) Your Head Is On Fire

4.) The Ghost Inside

5.) Sailing to Nowhere

6.) Trap Doors

7.) Citizen

8.) October

9.) Mongrel Heart

10.) The Mall and Misery

WK10 - Via Audio - Animalore (6)

Released - 3/9/10

Label - Undertow Music Collective

BLURB - I fell in love with Via Audio's virtually unknown debut "Say Something" a couple months back. Talk about charismatic songwriting - listening to this album was look like dating the girl next door. She was a little weird...off the beaten path...preferred the Smashing Pumpkins to Smash Mouth and really cute. But at it's core, it was good and there was a solid and sincere foundation. Built upon dual male/female vocals, catchy hooks and a confident enthusiasm about themselves, "Say Something" was an all too likable album. With "Animalore" it's not that simple. Aside from the obvious musical growing pains, the music itself seems to be consumed with uncertainty and bravado...a dangerous combination.

Rating - 6 out of 10

FULL STORY - We'll start with the track that's about sex. Anytime there is a song that features a line of chorus stating, "I wanna make babies with you..." you have to like it. I'm not sure where or when, but there was legislation passed regarding this. Jumping out of the speakers with a fuzzy and warm 70's style glow, "Babies" is without a question the best track on "Animalore." Plain and simply, this song just emits a cool vibe, which you can very easily dance to in the corner. A mix of clean and acoustic guitars, synth and keyboards really dazzle the ol' ear drums. "Babies" is also solidly comprised of strong verses, huge choruses and flowing solos. This song really has no weakness and has a great, timeless quality to it. If I told you I found this song on a record from 1979 - you would probably believe me.

"Tigers" also puts out a really nice, mellow, laid back feel. The vocals are extremely reposed, complimented nicely by bright chord progressions and riffs. The cool thing about "Tigers" is that the entire song is about being possibly eaten by...well...tigers - certainly a very tense and nerve wracking scenario. So when you combine this laid back, groovy bed of music with the lyrics, it's pretty ironic and gives the song an interesting little wrinkle.

The record's opening track, aptly titled "Hello" is also a formidable song and introduction to the album. Aside from a brief hook that appears to be lifted from Modest Mouse's "Steady As She Goes," the song suavely floats about with the greatest of self assurance. Imagine a stunningly beautiful woman crooning in a lounge with a glass of whiskey in one hand and a cigarette in the other, in 1963. Now transplant that image to modern times with a semi-known indie pop band at a small club in Williamsburg and you have the feel of "Hello."

So far so good, right? Well, no - aside from these tunes and "Summer Stars," the album amounts to a swing and a miss. The remaining songs seem to be just random ideas and tangents leading Via Audio away from the buoyant indie pop feel that made them such a great band in the first place. The first example of this is "Goldrush." Now there are definitely elements of this song that are right in Via Audio's wheelhouse, but it turns into this cheesy mess and a series of annoying choruses in the blink of an eye. I know some people will disagree with me, but whatever...it's too cheesy.

"Lizard Song" is a risky attempt to create an uptempo, rock number on the record. There's actually some parts of this song, again, that fit the Via Audio feel and are done very well. However, the constant push and pull of the distorted guitars and subdued verses do not mesh well, and rather than sticking it out I usually just skip ahead to the next track.

"Digital" falls into that annoying "indie-band-does-a-song-about-technology-and-fills-it-with way-too-much-bass" cliche. There's never been a decent song in the history of the world that rhymes the word digital with pixels - and there never will be. Terrible.

All in all I feel like I'm breaking up with Via Audio, or we're at least going to 'take a break.' While "Animalore" still retains some elements of what made "Say Something" so enjoyable, there has undoubtedly been some kind of change or departure from what made Via Audio great. It's like they just got back from their freshmen year of college and have all these new ideas and friends and habits. In the back of my head songs like "Babies," "Tigers" and "Summer Stars" will permit me to think that maybe someday we can get back together. For now though, I'm going to see other people.

Tracks

1.) Hello

2.) Goldrush

3.) Babies

4.) Tigers

5.) Wanted

6.) Too Quiet

7.) Lizard Song

8.) Digital

9.) Summer Stars

10.) Oh Blah Wee

11.) Olga

12.) Happening

WK9 - Local Natives - Gorilla Manor (9)

Released - 2/16/10
Label - French Kiss Records

BLURB - Five months ago I asked a friend to give me some bands that nobody really knew about, but should. I got a list of three bands - Local Natives was at the top. At the time, they only had a couple songs out, but had been making a huge splash in Europe and in the underground music circuits of LA and NYC. Like most, I had the general idea that the band had the potential to create an amazing record, now I have the proof with "Gorilla Manor." Blended with harmonies, enthusiasm and a grassroots approach to rock music, Local Natives has accomplished everything their fan base had been anticipating with this album. "Gorilla Manor" marks a return to what music should sound like - youthful, celebratory and sincere.

Rating - 9 out of 10

FULL STORY - Local Natives' sound is mix of rock, folk and varying shades of pop. If you're someone that enjoys the old "let's compare them to this band," adage, then consider Local Natives to be a collage of Fleet Foxes, Delta Spirit and Grizzly Bear.

The first track "Wide Eyes" is an excellent representation of the group. Charming guitar melodies and riffs slowly enter against a backdrop of constantly changing percussion as the track opens. The vocals of Taylor Rice stand out beautifully and compliment the various shapes and tones "Wide Eyes" provides - it's even more noticeable as he leads several three part harmonies with the band. After an unassuming and innocent first three minutes, the song moves into a heavier refrain, becoming more infectious with each note, ending after an almost chant-like, anthemic form.

"Airplanes" has a subtle tearjerker quality to it. The passion and sincerity in Rice's voice shines through with great force. Lyrically, the track focuses in on self-reflection, redemption and what could have been - personified by the warmth of the music, which features softer pianos and strings. "Airplanes" does change pace and intensity, but only when a point or chorus needs emphasis, affording the track the ability to play like a real life conversation.

Entering the world of Fleet Foxes, "Sun Hands" is filled with layers of folk harmonies and chants. The song is driven by pounding drums, creating a great tempo and sense of direction. Subtle and clean guitar melodies and progressions contrast with the intensity of the percussion. It's actually kind of brilliant, because it's difficult to ascertain the mood of the song. "Sun Hands" could be about fleeting happiness and despair, but could also be viewed as celebratory. This ties in with the lyrics nicely, as the track focuses around continuously trying to touch the sun, but ultimately failing.

Local Natives cleverly and creatively showcase their relatability on "World News." Yet again, vocal harmonies and catchy melodies are at the forefront of this track, both lyrically and musically. The voicing of "World News" is very calming and reassuring, allowing us to realize that the group, at it's core, is just normal people - thinking about normal things.

"The lane next over is always faster and you wait so long until you're so bothered. But right after you complete your merge the lane you started in gets going. While you wait for your luck to change all you can think about is where you started."

No, it's not about LA traffic as we obviously have a cool little metaphor here. What's nice is that Local Natives is very upfront about the theme and don't try to confuse or over analyze their thoughts. "World News" has a great simplicity to it, allowing it's listeners to interpret and dissect their lyrics effortlessly. At it's core these themes of change, impatience and regret can be applied to nearly anyone at anytime. The resulting effect is an increased meaning and emotional element that comes to light, brighter with each listen. But Local Natives is too good, and even further elaborates on these themes later on in the song:

"Your phone goes off with a picture of your mother. It's five to six and she can't find your brother. And while normally you'd yell and scream, instructing her to go and find him on her own...but calmly you're exiting and telling her that you are headed on your way home. She does not know what to say, just glad you are on your way. You turn off your phone in a different tone now, as you think the bad feeling so bad, makes the good so good."

Perhaps the most pop-influenced track on the album is "Camera Talk." Built off of a more traditional percussive style, the song flows with great rhythm and bounce. Distorted guitar chords ring out over the verses while a colorful keyboard progression lines the inner walls of the choruses. There's also something inherently catchy to the chorus that gets lodged in your head, maybe it's just the fact that "Camera Talk" is a cool play on words. The instrumentation throughout this song is right on par with what has been established on "Gorilla Manor," and is filled with strings, keyboards, electric guitars and vocal harmonies.

There really isn't much to dismantle with this album. It is the solid debut effort that we've all been hoping for. With a gun to my head, I would say the album is a little top heavy, but even that is a huge stretch. Nonetheless, Local Natives should be heralded as one of the up and coming indie rock act and haven't succumbed to the recent lo-fi, shoegaze phenomenon that bands like Surfer Blood and The Depreciation Guild have. "Gorilla Manor" has a certain charm and relevance that will grow on you each time you listen to it. For anyone that has been diving into the indie rock community over the past few years, you're sure to be impressed with Local Natives.

Tracks
1.) Wide Eyes
2.) Airplanes
3.) Sun Hands
4.) World News
5.) Shape Shifter
6.) Camera Talk
7.) Cards & Quarters
8.) Warning Sign
9.) Who Knows Who Cares
10.) Cubism Dream
11.) Stranger Things
12.) Sticky Thread