WK26 - The Roots - How I Got Over (9)

Released - 6/22/10

Label - Island Def Jam

BLURB - It's cool living in the same building as Owen Biddle. I think I've said hi to him twice, but still. The day we moved into our new apartment in April he told the three of us that The Roots had been working with John Legend in various capacities for a couple of albums, one of which being "How I Got Over." Legend shows up twice on the album (one as a sample), but I think working with him definitely rubbed off on The Roots. "How I Got Over" is incredibly smooth and filled with soulful beats that wind up getting stuck in your head for days at a time. There's still that raw hip-hop edge that The Roots have been known for, but it is much more reserved and polished. The songs themselves seem to have been more carefully constructed with perhaps more of an emphasis on the actual songwriting. Whatever they did, it works, and "How I Got Over" may be the most mature and credible release of their career.

Rating - 9 out of 10

FULL STORY - The Roots really started gaining credibility and acclaim in the early 2000's with the releases of "Phrenology" and "The Tipping Point." But they've actually been around and putting out records for nearly twenty years. Something like that just doesn't happen by chance. Obviously, The Roots are, and always have been talented, but they've been something of an enigma in the music industry. Is this rap? Is this R&B? Should we be playing this on the radio? Why doesn't MTV cover them as much as Jay-Z? Wait, it's a band? They've been somewhat hard to label and categorize - and in a world that revolves around labels, that can be somewhat frustrating.

Over the past year they've been able to gain a larger audience and crowd as they've stepped in as the permanent house band for Late Night with Jimmy Fallon. Now they're being seen as this collective band performing all varieties of music...every night...on TV. Last year's "Rising Down" sort of broke down this barrier that, for whatever reason, was holding the band back. "Rising Down" was filled with fiery lyrics, and aggressive beats that were a slight departure from their previous albums. Needless to say, it turned some heads and had a real "Fuck You" feeling to it. It's almost as if up until 2009, The Roots literally had to convince people that they were this great hip-hop band. In just two short years it seems that this has all changed and it seems more and more people are realizing that The Roots aren't this gimmicky band that features a drummer named ?uestlove.

Contrary to "Rising Down," "How I Got Over" doesn't have that fiery, "Fuck You" tone. Rather it's filled with spacious grooves and jams that conjure up pop and jazz colors, but with an underlying, modern urban flavor to it. The Roots have also been working on a collaborative album with John Legend, featuring covers of older pop and soul tracks, which is due out in September. Like I said before, I think this may have factored into the style and feel of "How I Got Over." It's very much laid back and relaxed, but the lyrical output is just as strong and forceful as albums past.

"Walk Alone" readies the listener with just a few piano chords and a drum beat as Black Thought jumps right into his verse. With just the piano and drums, there are less obstacles for the lyrics to jump over - giving them an added sense of importance. The song itself seems like it could serve as a metaphor for The Roots career as they really stood alone in a crowded music scene over the past two decades:

"I walk alone, I walk alone, you know I walk alone. I've always been on my own ever since the day I was born...so I don't mind walking alone."

"Dear God 2.0" has another slower introduction with just a few sustained piano chords as they rework 'Dear God' by Monsters of Folk. The original Monsters of Folk song is a perfect match for this laid-back track and provides a great platform for both groups to cross genres. The lyrics are delivered with passion and emotion, but aren't forceful or overwhelming - as they revolve around Black Thought's interpretations of the current state of America. The lyrical presentation is all in typical Roots fashion, filled with clever metaphors and a great sense of rhythm and flow.

I've been listening to "Right On" about twenty times a day the past two weeks. Featuring Joanna Newsom and a great beat, it has to be considered as one of the best tracks on the album. Yet again, the song itself is a simple laid back groove, with a great drum beat, but Black Thought and guests really deliver on the verses. The vocals have a great pace and are much more uptempo, and Newsom delivers a killer hook on the chorus.

And on to the John Legend tracks. 'Doin' it Again' features a sample of Legend's "Again" and is brilliantly re-worked. For those that are familiar with the song, "Again" is one of Legend's slower songs and features just piano, but is filled with alot of power and emotion. The Roots were able to extract this energy and apply their own style and interpretation, resulting in a brilliant collaboration. 'Doin' it Again' features a much faster pace and a full instrumentation, almost breathing new life into a song that not many people had heard of in the first place. The results speak for themselves as the song is a standout on the album and has already been released as a single.

'The Fire' once again features John Legend on the chorus, but with completely new material, no samples here. There's something about the music that is jointly created by The Roots and John Legend...it's perfect. They both compliment each other so well with Legend offering up some old school soul and The Roots always creating that perfect new school hip-hop groove. They should start a band called The John Legendary Roots Crew...oh wait...they did. 'The Fire' is packed with energy and is one of those songs that can just suck you in. The pounding piano chords mixed with ?uestlove's flawless beats, Black Thought's flow and John Legend's voice is purely a match made in musical heaven.

I like the fact that this album flows unlike any other Roots' album. In years past there have always too many weird interludes, or fillers, or unnecessary freestyles that would just take up space and detract from the overall album. I also like the fact that at any given time, any song on this album could be my favorite. With past albums, there have always one or two good songs ('The Seed 2.0' on "Phrenology", 'I Don't Care' and 'Don't Say Nothin' on "The Tipping Point" and 'I Will Not Apologize' on "Rising Down") but the rest would generally consist of forgettable beats and throw away tracks. Don't get me wrong, the albums would have more than one good song on them, but they would always seem to get lost in the shuffle. But with "How I Got Over," there is a great sense of stylistic theme and continuity in both the music and lyrics that really has The Roots pushing towards their potential and perhaps even reaching it.

Tracks

1.) A Peace of Light

2.) Walk Alone

3.) Dear God 2.0

4.) Radio Daze

5.) Now or Never

6.) How I Got Over

7.) DillaTUDE: The Flight of Titus

8.) The Day

9.) Right On

10.) Doin' It Again

11.) The Fire

12.) Tunnell Vision

13.) Web 20/20

14.) Hustla

Halfway Home Update / Top Ten Albums So Far

It's hard to believe it's the end of June already, and to say the least - it's been pretty hectic. There's been an ACL surgery, a move to Brooklyn, the sale of the music publisher I work for and a mysterious stomach ailment that dropped me 20 lbs...transforming me into this ghostly, zombie creature for about a month. Not to mention, I now live with this guy. With all that being said - I'm still here; and more importantly 52 Records is still here.

You may have seen a few changes over the past six months. I've changed the layout a couple times, there are many more helpful links in the posts and I've made a somewhat conscious effort to try and stay away from many of the mainstream releases. One thing that hasn't changed is the goal of this blog - to offer up reviews and insights on new and independent music. The caption under the title of 52 Records reads: "Watch me blow my paycheck on new music every week for a year," and I continue to stand by this as every review that I write comes from an album that I have personally bought.

There are a bunch of people that I would like to thank. First off, anybody that reads this - thank you. In all honesty - I could care less because I really only keep this site going for my personal use, but the fact that people out there do stumble across these blog posts and respond is pretty cool. Believe it or not, this blog is quickly approaching the 5,000+ hit mark! I'd like to thank a couple of other fellow bloggers for their comments, insight and helpful plugs over the past year(s).

Brittany White - http://yeartwentyfive.blogspot.com/

Caleb Hawley - http://calebhawley.com/category/blog/

*Jah - http://www.chatteringgem.com/

Jon Starring - http://theaudiosphere.wordpress.com/

Evan Rakowski - http://threewordchant.com/

I've also had the opportunity to get (very little) press from a couple of outlets as well as promotional items, albums and concert tickets as a result of this blog. This is something I never envisioned happening, but it is, and it's greatly appreciated.

Filter

Fader

The Aquarian Weekly

aside//worldwide

Tygereye Entertainment

GBH Events

One more note before I get to the music. I'm one of those people that still likes to go out and buy a physical album. I like the excitement of opening it and playing it for the first time with jacket in my hand. In the past year it's been getting much more difficult to find places that sell the albums I'm looking for, especially with both of the Virgin Megastores in NYC foreclosing. Since I've moved from Astoria to Greenpoint I've been extremely fortunate to be surrounded by an amazing music scene and consequently amazing music stores. For the past three months all of the albums that I have purchased for the blog (and countless other albums) have been bought at Sound Fix in Williamsburg. If you haven't been there you need to go. Sound Fix is the only store that always has exactly what I'm looking for, be it new releases, obscure albums, vinyl, etc. - and all at reasonable prices. So I'd be re-missed if I didn't give them a plug.

Sound Fix (N. 11th St, Between Berry St. & Wythe Ave.)

http://www.soundfixrecords.com/

And now for the music...

Here are the top ten albums I have purchased thus far in 2010. I still have one other album to review this June (Ariel Pink's Haunted Graffiti - Before Today) but unfortunately it's not going to crack the top ten.

Starting with #10...

10.) Beach House - Teen Dream

Mixing aspects of folk, indie and dream-pop, Beach House floods their latest release 'Teen Dream,' with waves of sonic charm and storytelling. For the outsiders looking in, it's hard to really explain what Beach House sounds like - I guess it's some kind of cross between Fleetwood Mac and Grizzly Bear, filled with reverb. Whatever it is, it works - even though Beach House's polarity has been enigmatic at best over the last several years. It seems that anyone and everyone who hears Beach House has a definitive opinion on their sound, be it good or bad. 'Teen Dream' bridges the gap between the lovers and haters, becoming the group's most accessible and approachable record to date. Everything from the feel of the music to the honesty of the lyrics is entirely relatable. Looks like Beach House has finally opened up their gates and simply want us to press play.

9.) Surfer Blood - Astro Coast

Surfer Blood burst on to the scene in 2009, touring heavily and turning heads in the process. Hailed as one of the most anticipated albums of the year, 'Astro Coast' is finally here, and it's loud. Despite being drowned in fuzzy reverb and power chords, melodies and hooks are plentiful, swerving their way in and out of the background. The band itself is full of personality, life and energy. See for yourself. With a sound that draws influences from early Weezer and The Shins, Surfer Blood looks to be reinventing the indie-rock wheel for 2010.

8.) LCD Soundsystem - This is Happening

Being that this is my first venture into the world of LCD Soundsystem, I was a little skeptical. I know the hipsters love LCD, but the hipsters also love The National. I knew I would be slightly pre-conditioned to like this album though, do to the fact at his core, James Murphy is more of a weird-synth, dance guy. Essentially, "This is Happening" is a great success. It's fun, it's danceable, it's filled with waves of synth loops and weird lyrics that ironically make for a great summer album. The only downfall would be some of the tangents the record veers of into, often focusing in on spoken word vocals that sound like something from a bad Adam Green / 3OH!3 collaboration. But in it's entirety, the album does live up to it's potential and is definitely something worth checking out.

7.) Delta Spirit - History From Below

It's fun to root for the underdog. It's rewarding when you can see true talent flourish. Delta Spirit arguably have been one of the hardest working bands in America over the last few years. They've released two albums in two years, have toured relentlessly and even found time to get iced. On "History From Below" it appears all of that work has paid off, as Delta Spirit offers up a more refined, mature and evolved sound. Gone are the gimmicky riffs of the "Trashcan" days, as they have been replaced with more traditional compositions that provide a musical forum for the band to show off their San Diego rock roots. "History From Below" is beautifully balanced with anthemic indie rock tracks and elegantly composed, self-reflecting acoustic ballads, subtly informing their audience that they're no 'one-trick-pony.' This is one of those albums that will definitely grow on you...so I strongly advise you go pick it up now.

6.) MGMT - Congratulations

Along with Vampire Weekend's "Contra," MGMT's "Congratulations" was one of 2010's most anticipated releases. Whereas Vampire Weekend refined their sound from the band's hugely successful debut album into an even more quirky, yet commercially acceptable afro-pop sound, nobody really knew what direction "Congratulations" would take MGMT. Their first record, which was critically acclaimed, delved into alternative folk rock and experimental pop. On "Congratulations" the band seems to have come full circle, creating an album that will undoubtedly be listened to ten years from now. But unlike their debut, MGMT's second record is a progressive enigma that will require some time and patience for it's true genius to be appreciated.

5.) Flying Lotus - Cosmogramma

It's remarkable how we discover new music. I first heard about Flying Lotus in 2008 from a friend of mine (Kristina Hedrick), as she thought I'd be into him after reading this article in the New Yorker. At that point in my life I had fully dove into the world of electronica and was really only listening to STS9 and Eliot Lipp. Kristina figured FlyLo would be right in my wheelhouse. And so it was. But there was something different about Steven Ellison's approach to production. It was pure expression and art, translated and fixed to a record. He wasn't just pushing buttons and making beats - he was on a different level. There were no definitions, no protocol...no patterns to follow. Rather it was beautiful, atmospheric wanderings that weaved in and out of hip-hop, electronica and jazz. 'Los Angeles' drew me in and now 'Cosmogramma' has solidified myself as a lifelong fan. Prepare to be dazzled.

4.) The Morning Benders - Big Echo

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.

3.) Delorean - Subiza

It's about time. This was an amazing find and exactly the new band I was looking for. I had heard some buzz about Delorean after a couple of shows in NYC and decided to pop into Sound Fix to pick up the new album...I've been listening to it ever since. In my opinion, Delorean is what I always wanted Passion Pit to sound like. They simply are an indie dance-rock band that knows how to bring it. Passion Pit tends to work themselves in and out of great music and lack the consistency that 'Subiza' shows. Delorean finds a way to make every track on the album relevant - something that is incredible difficult to do. 'Subiza' is great in that, at any given point, any given song on the album could be my favorite. It's fresh, it's original and it's fun.

2.) Local Natives - Gorilla Manor

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.

1.) Toro y Moi - Causers of This

I went to see Neon Indian at Mercury Lounge three months ago and Toro y Moi was opening. We had no idea who he was, so of course we decided it would be better to just come later (after the openers) and get some pre-show drinks in our system. Idiots. The irony in this is that, in constantly looking for that great new band or great new sound, I spend a lot of time going to shows and researching up and coming acts. So it makes perfect sense that the one time I purposely show up late to a show, I miss the artist that may have just released the best album of 2010. 'Causers of This' is a complete amalgamation of the music I've been listening to over the last several months and is filled with relaxing grooves, hazy synths and chopped up samples. It's one of those records that, when you hit play for the first time, you know instantly that it's going to exceed your expectations.

WK25 - Ariel Pink's Haunted Graffiti - Before Today (9)

Released - 6/7/10

Label - 4AD

BLURB - First off, my apologies to Ariel Pink's Haunted Graffiti (hereinafter 'APHG'). The Halfway Home Update had them not cracking the Top 10 albums of the year so far. Make no mistake...this is one of the better releases of 2010. "Before Today" is an elaborate, yet funky display of post-punk, noise rock and lo-fi pop that really comes out of nowhere to dazzle the senses. Certain parts of the album feel like 80's dance ballads while others sound like garage rock - all of which come shooting out of the speakers with enough fuzz and haze to fulfill the obligatory lo-fi genre. Yet, the album remains surprisingly interesting, refreshing and new. Side note, I've always wanted to say 'hereinafter' in a post.

Rating - 9 out of 10

FULL STORY - I bought APHG's "Before Today" after listening to a few tracks at Sound Fix's listening booth and being intrigued. I could only preview three tracks, but each of them were disparately different, which would serve as some nice foreshadowing after I actually bought and listened to the whole album. It's been a few weeks and I simply cannot put "Before Today" down.

"Hot Body Rub" opens the album and is enough to scare away some listeners. The track opens with an airplane flying by and moves into an acid-jazz-rock feel. Some of the notes are bent out of key and held, creating the illusion that this is just some stoner rock album by some friends messing around in the basement, although it's not.

The second track, 'Bright Lit Blue Skies' is a pleasantly uplifting track that swings with catchy riffs and bass lines. Huge background vocals fill the chorus with force and depth. The song itself is a much more traditional pop song that sparkles with character, and sounds like it was recorded thirty years ago. Beachy guitar riffs help give the track a bit more of a summer vibe, giving the song a subtle airy quality, keeping it light and fun.

'Fright Night (Nevermore)' drums up some far reaching Neon Indian comparisons. The song is filled with atmospheric synth chords, painting a canvas of 80's pop that comes off a little creepy. The vibe is definitely a little darker, and as the title suggests, it seems like a perfect fit for that Halloween party you may be throwing four months from now.

The party vibe is back in full swing on 'Round and Round.' As a repetitive bass line circles the vocals, the track appears suspended and floating - waiting for something to happen. After a brief pre-chorus breakdown and a simulated a phone call, a huge chorus blasts out of the speakers, captivating the listener, nearly forcing them to at least tap their foot to the beat. Parts of the song do a great job encapsulating the whole 'wall of sound' effect. Rather than hearing the guitar, or hearing the drums, the listener really hears the entire instrumentation as a whole. It's not until you listen to the song fifty times and break it down, that you can distinguish the variety of instruments and effects used. It reminds me of Bibio's 'Lovers' Carvings,' which is a good thing.

Following up 'Round and Round' is 'Beverly Kills.' Mostly driven by bright synthesizer chords and funky bass riffs, the track dances around with a hipster basement dance party vibe. Supplementing the track are all kinds of weird song effects and instruments. This actually does a really cool job of balancing the old and the new. With much of APHG's songs, there is an unmistakable retro feel, so when you have these synthesizers and computer effects mixing with rich, funky bass lines, it really comes off as not only creative, but clever.

'Can't Hear My Eyes' goes more ballad than party and is beautifully constructed with warm and inviting tones. Jazz keyboards, guitars, chimes and even a saxophone solo comprise this slowed down track and is probably APHG's most accessible song - as it's very easy on the ears. To offer up a better description, picture any song that made Billboard's Top 100 on the Adult Contemporary chart in 1979. It probably sounds just like 'Can't Hear My Eyes.'

'Reminiscences' is right in my wheel house. A chilled out instrumental that weaves back and forth between synthesizers and string sections, perfect for that laid back summer drive.

Some of the remaining album does go off on some random tangents (like the above instrumental) and loses some continuity, but the bulk of the songs are strong enough to make this critique seem like a forgettable one. If you're looking for that weird, lo-fi, funky, pop album that might be a little stranger than you'd like...then you've probably just found it.

Tracks

1.) Hot Body Rub

2.) Bright Lit Blue Skies

3.) L'estat (Acc. to the Widow's Maid)

4.) Fright Night (Nevermore)

5.) Round and Round

6.) Beverly Kills

7.) Butt-House Blondies

8.) Little Wig

9.) Can't Hear My Eyes

10.) Reminiscences

11.) Menopause Man

12.) Revolution's a Lie

WK24 - Delta Spirit - History From Below (9)

Released - 6/8/10

Label - Rounder Records

BLURB - It's fun to root for the underdog. It's rewarding when you can see true talent flourish. Delta Spirit arguably have been one of the hardest working bands in America over the last few years. They've released two albums in two years, have toured relentlessly and even found time to get iced. On "History From Below" it appears all of that work has paid off, as Delta Spirit offers up a more refined, mature and evolved sound. Gone are the gimmicky riffs of the 'Trashcan' days, as they have been replaced with more traditional compositions that provide a musical forum for the band to show off their San Diego rock roots. "History From Below" is beautifully balanced with anthemic indie rock tracks and elegantly composed, self-reflecting acoustic ballads, subtly informing their audience that they're no 'one-trick-pony.' This is one of those albums that will definitely grow on you...so I strongly advise you go pick it up now.

Rating - 9 out of 10

FULL STORY - I met lead singer and guitarist Matt Vasquez in the bathroom at Brooklyn Bowl about a month ago during Cherry Lane's 50th Birthday Bash. With about four beers in my system, I felt compelled to tell him how great some of the new songs sound and he eagerly discussed the recording process and how proud Delta Spirit was of the new record. The conversation then shifted to different music venues we like in NYC, the fact that Park Slope is his favorite neighborhood in Brooklyn and that they actually just finished shooting the initial footage for the video for Bushwick Blues two days earlier. That fifteen minute conversation in the bathroom was enough to make my night, but it didn't stop there. He went further and invited some of us to bowl on his lane with his friend Johnny Corndawg, which was also adjacent to where John Legend happened to be bowling. I'm still in disbelief, and I still feel bad that I ended up beating Matt by one pin in the tenth frame. What a dick.

On to the actual album. "History From Below" begins with one of the better opening tracks I've heard this year in '911.' The song is a bouncy acoustic number that is filled with Americana references, background harmonies and lyrics that reflect on everything from the economy to, predictably, 911. Make no mistake, this isn't an 'oh my god, the World Trade towers are gone' song - but it does a great job identifying and relating to the struggles and tragedies of the common man through some cleverly insightful lyrics, and is presented in a sarcastic, yet uplifting tone.

"Back east they said the market's fine. I heard that before 1929. When black Tuesday comes it'll be a hit, right out of the air in to the pit. 'There's one out now' said the President. World War Three will make the bull horns bend. All the old boys said they could make it last, like Vietnam without a draft. We got the best in the biz for the marketing. We'll turn the Marlboro Man into a marine. The brave youth will come from far and wide, with 911 as their battle cry."

'Bushwick Blues' is the second track and lead single to the album...and it does not disappoint. Filled with heavy bass lines, crushing drums and reverb-filled guitars the song takes on the necessary repertoire for that great indie-rock song. The lyrics are much more self-inquisitive and powerfully delivered with emotion and conviction by Vasquez as he focuses on that 'girl that never was.' The sing-along-ability to 'Bushwick Blues' is off the charts. I've found it impossible to not mouth lyrics on the L train to work as Vasquez belts out:

"Do you recall the night we took the L out into Bushwick? It was colder than hell."

The track is catchy, but not gimmicky. It's heavy, but not overwhelming. Everything is properly delivered and proportioned into this amazing indie/rock/folk track that really demonstrates just how accomplished and talented Delta Spirit is.

'White Table' begins with just tapping drum sticks and a simple guitar riff, but you can tell there is something bubbling under the surface. Perhaps purposely slow and basic, the track enters with a certain degree of caution and awareness as it slowly begins to build in intensity. Around the 2:40 mark, everything takes off like a freight train as a few carefully constructed background vocals and riffs play off of each other. 'White Table,' while simplistic in it's own right, somehow comes off with such a large and momentous feel. Each time I listen to this track I feel like I'm listening to it in a crowded arena with some ridiculous laser light show...I don't really know why.

Perhaps the most pop-influenced track on the album would be 'Golden State.' With a great keyboard riff as it's bedrock, the song revolves around the band's humble beginnings in California and their pursuit of the 'long road ahead,' while never forgetting about their roots. The track is supplemented with mild guitar riffs and chords, but remains very piano and drum heavy. With this minimal approach, the song really allows Vasquez to deliver the goods with another display of powerful vocals and passion.

'Vivian' takes the listener into a more intimate and personal setting, dealing with the loss of a Grandmother. The slowly strummed guitar chords and punctuated piano notes, mixed with the deeply personal lyrics allow for Delta Spirit to become more accessible than ever before. For anyone that has a lost a grandparent, this is sure to be a tearjerker:

"I fought for each breath as long as I could, fighting with nothing to hold. The last breath I took blew right through the wind into nothing at all. Sleep, oh sleep my Vivian, heaven is too cold without you. I'll stay right here below the clouds waiting to see heaven with you..."

Emotional and personal affectations aside, the song itself is brilliantly composed. The pace is slow enough to remain somber, but never drags on. The inclusion of a few harmonica lines gives the effect of a more bluesy influence, however the acoustic piano and background harmonies reassure the listener that this a folk song at heart.

I thought it would be tough following up "Ode to Sunshine," but really, what was I thinking? "History From Below" showcases Delta Spirit's ascension into the upper echelon of elite indie rock bands. Marked with some of the better songwriting you'll find out there, this album is filled with addicting fusions of blues, folk and rock - all of which are delivered with confidence and void of hesitation or indecision. Delta Spirit set out to create this exact record, and that's just what they've done. There may be portions that seem a bit slow for some of the older Delta Spirit fans, but their maturity and evolution as a band has clearly improved the final product. "History From Below" doesn't come with the expected 'Trashcan,' 'People C'mon' or 'Streetwalker' type songs, but rather it comes in the form of a complete album that can truly be appreciated by simply hitting play and letting the twelve tracks run.

Delta Spirit's show at Bowery Ballroom on 6/30 is sold out, but tickets are still available for their show at Music Hall of Williamsburg on 7/1.

Tracks

1.) 911

2.) Bushwick Blues

3.) Salt in the Wound

4.) White Table

5.) Ransom Man

6.) Devil Knows You're Dead

7.) Golden State

8.) Scarecrow

9.) Vivian

10.) St. Francis

11.) Ballad of Vitality

WK23 - Flying Lotus - Cosmogramma (9)

Released - 5/3/10

Label - Warp Records

BLURB - It's remarkable how we discover new music. I first heard about Flying Lotus in 2008 from a friend of mine (Kristina Hedrick), as she thought I'd be into him after reading this article in the New Yorker. At that point in my life I had fully dove into the world of electronica and was really only listening to STS9 and Eliot Lipp. Kristina figured FlyLo would be right in my wheelhouse. And so it was. But there was something different about Steven Ellison's approach to production. It was pure expression and art, translated and fixed to a record. He wasn't just pushing buttons and making beats - he was on a different level. There were no definitions, no protocol...no patterns to follow. Rather it was beautiful, atmospheric wanderings that weaved in and out of hip-hop, electronica and jazz. 'Los Angeles' drew me in and now 'Cosmogramma' has solidified myself as a lifelong fan. Prepare to be dazzled.

Rating - 9 out of 10

FULL STORY - When listening to Flying Lotus you really have to check your expectations at the door. You're not going to find any choruses, verses, or even structure for that matter. What you will find are deep interpretations and experiments with countless effects, samplers, synths, instruments and drum machines. Often times there is so much going on that it is near impossible to recognize what you're hearing and experiencing. But the results are inarguably rewarding and possess the ability to rearrange how you hear and react to music.

The album begins with a brief introduction in 'Clock Catcher' before it dives into the deep end with 'Pickled!' Here Ellison blends uptempo drum patterns with rapid jazz bass lines that casually dance around computer effects and clouds of haze. While it is one of Flying Lotus' simpler tracks, is does help ease the listener into the record with any type of sensory overload.

'Nose Art' pushes in with a much more chill beat, while blasting laid back lines of bass that establish a serious groove. It's hard to decipher what exactly is being used to accomplish these riffs, but it comes off as a very heavy, low register synth that sounds like something that could easily be incorporated into a cool dub track. The relaxed vibe on 'Nose Art' does a great job segueing into 'Intro // A Cosmic Drama,' which breezes by with light string sections, sounding like something that would run during the opening credits of a science-fiction film.

The jump out track on the album is 'Computer Face // Pure Being.' Mixing video game noises, loads of synthesizers and catchy little spacey riffs over a huge bed of bass - this track is as close to perfection as one can get. This is one of Ellison's rare tracks that does actually feature several different motifs that are constantly revisited and tweaked as the backing percussion remains anything but steady. At points, entire sections drop out completely leaving either new drum patterns or just straight blasts of synth, helping to keep the song varied and fresh. There is also something celebratory or monumental about this track as it just feels powerful and larger than life. It's impossible not to get into this one.

The madness of Flying Lotus makes a bold appearance on 'Arkesty.' After beginning with random noises and effects the song cautiously morphs into several different beings. After about thirty seconds a solo improvised drum beat appears and soon begins to mix with bop saxophone solos, which are accented elegantly by harps. Really? Who thinks of this? From here the track is struck with a few piano chords and then moves into something of dark choir chamber before it fades out. What Ellison accomplishes here is the ability to mix and remix samples of live performance and instrumentation into a creatively weird track that is anything but electronica - his supposed forte; thus showing his audience that he's more than a man with a keyboard and a Mac.

'Do the Astral Plane' comes off as a super-cool hipster lounge track. Accompanying a clap track are metallic hooks of synthesizers that quickly establish that perfect low key party vibe. As more and more weird percussive accents start to emerge, the track begins picking up pace and gathering steam. Halfway through the track some latin-tinged strings peak through the blinds, suddenly giving an entirely new feel to the original groove. From there Flying Lotus pushes into much more of a chaotic, electronic experience, while not necessarily getting rid of any of the instrumentation that has led to this point. He brilliantly finds a way to push his music through all of these twists and turns without compromising his original thoughts or ideas.

Thom Yorke drops by on the dark '...And the World Laughs With You.' If I had to describe this song in one word it would be wet. It's mysterious and just sort of floats around in mid-air creating a dark and ominous tone. It's very dream-like, almost nightmarish. The track is really an amalgamation of subtle, dark electronic tones that basically occupy the space in between Yorke's muffled lines of vocals. While not my favorite track on the album, it's definitely out-there and something unique to check out.

'Cosmogramma,' for lack of a better description, is all over the place. The record is filled with unique and clever fusions of sounds and interpretations. The precision with which the overwhelming amount of effects, samples, beats, etc. are sliced up and mashed together is almost unheard of. With each listen you hear something new, whether it be cool passing jazz tones or futuristic keyboards or simply just a crazy drum line that you didn't hear on the first take. Invariably, these new sounds and noises that continuously surface with each listen only end up positively augmenting each song.

The only possible complaint with the album is that you really have to go in with a blank slate in your head. Often there is so much going on that you can't just listen to one track and move on. This is definitely one of those records that, when you listen to it, you have to commit to listening to it...and that means about forty-six minutes of your attention. But that shouldn't be a problem.

Tracks

1.) Clock Catcher

2.) Pickled!

3.) Nose Art

4.) Intro / A Cosmic Drama

5.) Zodiac Shit

6.) Computer Face / Pure Being

7.) And the World Laughs With You (Ft. Thom Yorke)

8.) Arkestry

9.) Mmmhmm (Ft. Thundercat)

10.) Do the Astral Plane

11.) Satellliiiiiiteee

12.) German Haircut

13.) Recoiled

14.) Dance of the Pseudo Nymph

15.) Drips / Auntie's Harp

16.) Table Tennis (Ft. Laura Darlington)

17.) Galaxy in Janaki

WK22 - The Black Keys - Brothers (7)

Released - 5/18/10

Label - Nonesuch Records

BLURB - There's one thing for certain here, The Black Keys are one of America's hardest working bands. When they're not recording, they're touring - when they're not touring, they're working on solo projects - when they're not working on solo projects they're teaming up with the likes of Mos Def, Ludacris and Jim Jones on Blakroc. Busy guys. "Brothers" finds the duo mired in bit of a slump for The Black Keys. After a few successful albums, the group began to plateau a bit and seemed to coast by on their past two records. "Brothers" attempts to reestablish their gritty, blues-drenched rock that goes best with a beer and a cigarette while sitting in your garage in June.

Rating - 7 out of 10

FULL STORY - The first track to really jump off the album is 'Tighten Up,' which was produced by DJ Danger Mouse (see also Gnarls Barkley & Broken Bells). My Dad likes this track because it starts off with some catchy whistling. For the most part the track is fairly basic, prominently featuring pounding drums and up-stroked guitar chords. As the song catches a groove there is a predominant riff that accents that signature bluesy garage feel that The Black Keys have helped to reinvent over the years. As the sound continues building in depth, organs are also incorporated prior to a creative breakdown that sends the song in an entirely new direction. The track is catchy enough to win over some ears, but raw and powerful enough so as not to stray from their roots. Perfect summer BBQ music.

'She's Long Gone' kind of reminds me of something Wolfmother would create. A very slow, yet driving, riff-heavy blues track. The vocals are delivered confidently and yet with an air of indifference. The lyrics on this track match with much of the theme of the album, which rocks back and forth between women, troubled relationships and generic gripes with life.

"Her eyes are rubies and pearls and she's not made like those other girls. Her lashes flap and smack men back. Like springs they bounce off her curls."

As you can see, The Black Keys also incorporate a fair amount of storytelling and descriptive ventures into their lyrics as well. 'She's Long Gone' features some nice, mellow soloing that casually serves as an impromptu jam, apathetically wondering over the original blues rock progression.

'Too Afraid to Love' really slows down the album and works in some weird harpsichord instrumentation that kind of throws the listener for a loop. Also new into the mix, are clouds of hazy distortion that add character and age to the song which, when combined with the harpsichord, gives both an old and new flavor. The track is a bit slow for my taste and doesn't really go anywhere, but if nothing else there is a cool fusion of sound going on.

Next up is 'Ten Cent Pistol' which sounds like something I'd hear at an open blues or jazz night at some random bar. Maybe the Bluetone Cafe? The drumming is much more restrained and remains on a tight leash for the majority of the song. The subtle chord changes and riffs that quietly emerge through the song are a nice change of pace to the more uptempo and aggressive nature The Black Keys usually employ. The song is riddled with tinny guitar solos and pushes pace and energy over many of the song's bridges.

'Sinister Kid' brings back more of that raw, unfiltered garage rock vibe. The track is very groove-heavy and very easy to be lured into. The pounding drums mixed with a few simple muted guitar and bass lines proves the point that it's not always about what notes are played, but what notes are not played. This track has a lot of open space and air for the listener, allowing them to dive into the track without too many distractions.

Unfortunately, "Brothers" does fall victim to it's own vibe. Fifteen tracks is about five or six too many. Because of this, many tracks bleed into each other and become very monotonous. There is also a noticeable lack of energy and fire on much of the record as well. While certain tracks like 'Tighten Up' and 'Howlin' For You' bring the ruckus, much of the album is very, very mellow and laid back. While not necessarily a bad thing, it does present some chinks in the armor of what is supposedly one of the better garage rock bands of our time. The last four tracks on the album are also noticeably slower and even draw comparisons to some of the slower tunes from Creedence Clearwater Revival.

This being said, that album is still good enough to stand on it's own too feet. You just might not be able to make it through the whole record without skipping ahead or taking a break. But nonetheless, another decent summer album.

Tracks

1.) Everlasting Light

2.) Next Girl

3.) Tighten Up

4.) Howlin' For You

5.) She's Long Gone

6.) Black Mud

7.) The Only One

8.) Too Afraid to Love You

9.) Ten Cent Pistol

10.) Sinister Kid

11.) The Go Getter

12.) I'm Not the One

13.) Unknown Brother

14.) Never Gonna Give You Up