WK16 - Panda Bear - Tomboy (6.5)

Released - 4/12/11

Label - Paw Tracks

BLURB - Panda Bear returned to the conversation a few weeks ago with his latest release, "Tomboy." Aside from being a member of the critically acclaimed Animal Collective, his solo career has been equally impressive. His "Person Pitch" record in 2007 was named best album of the year and went on to be be named as one of the top one hundred albums of the decade by numerous media outlets. So what does Panda Bear (or Noah Lennox) do for an encore anyway?

Rating - 6.5 out of 10

FULL STORY - For many, Panda Bear is, and always will be, a tough listen. He weaves artistic melodies and themes amidst a sea of hazy loops and ambience that can overwhelm your eardrums. Listening to a Panda Bear song is more of an auditory experiment. Don't let this deter you from his music though -- buried underneath the noise and repetition are very structured pop ideas and infrastructure. The vocals are generally filled with waves of reverb and delay, which gives the song a deeper depth and presence -- as if every song was sung by a choir of men. The best part of Panda Bear though, has got to be his lyrics. Panda Bear's lyrics are incredibly simplistic and basic, yet possess so much thought and innocence -- each track plays like a poem written by an eight year old. Honest and simple.

The album begins with 'You Can Count On Me,' which gently floats along. The pace is slow and careful, but comes off a bit dull. The lyrics mainly consist of Lennox pining for his audience to know that they can, in fact, count on him.

'Tomboy' picks up the energy as Panda Bear employs a series of looping distorted guitars and key changes. But it's obvious to me, right away, that this album takes on a completely different tone than "Person Pitch." The 2007 record was bright and warm -- while "Tomboy" has yet to establish much of a personality. Overall, 'Tomboy' (the song) comes off as monotonous and indifferent.

And so just as soon as I'm beginning to have my doubts about this record, we're hit with 'Slow Motion,' a breath taking track that brings us back in. The song has a great fusion of sounds and loops and some actual character. The vocal melodies that are present are intoxicating and synch perfectly to the music. The lyrics are an interesting take on advice as Lennox tries to convey how it's sometimes more important what people don't say, rather than what they do say:

"So they say practice makes you perfect. So they say you can't teach an old dog. So they say have an apple a day. So they say better safe than sorry. Everyone knows what they always say. And when I slow down, it's just clear how it's what they don't say that counts."

'Last Night at the Jetty' is another masterpiece that will casually sneak up on you. The song reminds me of "Guys Eyes" by Animal Collective, in that it has this old retro feel to it, but somehow also feels modern. The song mostly wades through some warm tones and calming ambience but does build to a powerful bridge halfway through the song. The melodies are also on point, and backed against a chorus of fuzz and reverb, sound like a slow Beach Boys track on acid.

A few other notable tracks are 'Afterburner' and 'Alsatian Darn,' but outside of those, the album really feels empty. There's something of a dark, industrial undertone that mires much of the record in apathy and carelessness. "Person Pitch" had so much color and positive energy, despite Panda Bear's repetitious recording style. "Tomboy" has the same production techniques and qualities, but is missing some substance and energy. It doesn't have any defining characteristics and just sort of exists. I am and will always be a Panda Bear / Animal Collective fan, but this album really doesn't do it for me (outside of a few key tracks).

Take a listen to 'Slow Motion.'

Tracks

1.) You Can Count On Me

2.) Tomboy

3.) Slow Motion

4.) Surfer's Hymn

5.) Late Night at the Jetty

6.) Drone

7.) Alsatian Darn

8.) Scheherazade

9.) Friendship Bracelet

10.) Afterburner

11.) Benfica

WK15 - Cut Copy - Zonoscope (9.5)

Released - 2/8/11

Label - Modular Recordings

BLURB - I never really got into Cut Copy over the past few years. I remember thinking once that all of these 'C' bands were all the same (Cut Copy, Crystal Castles, Chromeo, etc). Looking back now, those three bands are so entirely different, I can't believe that I just wrote all of them off as hipster dance bands. Cut Copy, actually, is quite far off from some generic hipster dance band. Sure they have some of the uptempo dance chops that remind me of Delorean, Hot Chip or Passion Pit, but on 'Zonoscope' they've also forged ahead and transformed into a dynamic indie act that doesn't deserve just a fleeting glance. The new record is much more well rounded and diverse, providing a unique listening experience for their audience.

Rating - 9.5 out of 10

FULL STORY - I should have known I'd like this album - Cut Copy is from Australia. Geography aside, I took a bit of a further look into Cut Copy to see what brought them to 'Zonoscope.' For much of their career, Cut Copy was that typical dance-rock band that had a couple songs of interest, but not much else. They had some hits that got jammed in your head and made for a great road trip soundtrack - but for the most part it was just fleeting success. Move to 2011 - Cut Copy has refined and modulated their sound while still appealing to their long standing fan base. 'Zonoscope' has a much more interpretive feel than records past and is filled with depth and substance. Rather than just throwing out a hook and seeing if people like it, they've shifted their focus to generating momentous and dynamic material that constantly grows on its listeners. There's a real sense of maturity on this album.

"Need You Now" opens the album with a steady and repetitive bass line that cycles throughout the song. Slowly, synth and chimes filter in as the drums kick in and the song finds its initial groove. Before long, the intensity picks up and waves of ambient synth flow in and out of the speakers with subtle hooks and riffs. The song has an underlying 80's feel and for whatever reason, it consistently reminds me of a more interpretive version of OMD's "If You Leave."

The second track, "Take Me Over" feels like a more mild-tempered Delorean track. The verses are fairly subdued and mainly consist of clean guitar lines and hi hats. As the chorus approaches you can tell the track is moving towards more of a dance feel as a catchy synth chord progression takes the wheel. Cut Copy does a great job on "Take Me Over" with varying their tempos and moods - while it may serve as their obligatory single - it still has character and versatility that is worth noting.

Following "Take Me Over" is the surprisingly beautiful "Where I'm Going." Filled with background harmonies and a beach-pop feel, the track literally sounds like it should have never made it on to the album...but this is Cut Copy's maturity shining through. The track feels like a modern interpretation of the Beach Boys that is filled with indie quirks and production values. It's graceful, patient and incredibly likable. I'm more than ready to put this on to a summer mixtape.

"Blink and You'll Miss a Revolution" begins out with a fog of distortion and sound effects before going into something of an atmospheric-island jam. As the vocals and keyboards hit, there is a noticeable edge and aggression that reels you in. The song has a very eery quality to it, yet is offset by the bright colors and tones that are used. Just before the two minute mark, the track really hits its stride, as a wall of sound emerges amidst a now upbeat tempo. The track then returns to its darker verse only to re-emerge with more energy and an incredible violin outro that slowly morphs into "Strange Nostalgia for the Future."

"Hanging On To Every Heartbeat" is a slow moving track that is constantly shifting instrumentation and texture. The song begins with inconspicuous little guitar riff that plays against a soft fog of synth. As the verse moves along, the synth is exchanged for acoustic guitars before moving into a very keyboard and computer-driven chorus. Somehow these constant changes in instrumentation and tone work. They keep the song interesting and relevant, without coming off as abrupt or disrupting the natural flow of the song.

Cut Copy's 'Zonoscope' appears to be one of the pleasant surprises of 2011 and is definitely an album I'd recommend to anyone that is a fan of Delorean, Miami Horror or Hot Chip - but also wants a little depth and experimentation. It's just a solid record.

Take a listen to "Where I'm Going."

Tracks

1.) Need You Now

2.) Take Me Over

3.) Where I'm Going

4.) Pharaohs & Pyramids

5.) Blink and You'll Miss a Revolution

6.) Strange Nostalgia for the Future

7.) This Is All We've Got

8.) Alisa

9.) Hanging Onto Every Heartbeat

10.) Corner of the Sky

11.) Sun God

WK14 - Bibio - Mind Bokeh (9.5)

Released - 2/4/11

Label - Warp

BLURB - One of this year's great surprises (well, not really) has got to be Bibio's "Mind Bokeh." Bibio feels like they've been around for ages, but they finally started to gain some real notoriety over the past year with their previous record, "Ambivalence Avenue." They went from an underground indie/electronic unknown, to basically a mainstay in today's music scene. Their track, 'Lovers Carvings' was even featured as the background music for an Amazon Kindle commercial. "Mind Bokeh" proves that Bibio still has that gift for producing creative and interpretive indie/electronic music. The record can be played in any which way and feels like a complete work of art. The best part of Bibio is that their music is fused from so many different styles that it really becomes a must-listen for any fan of music.

Rating - 9.5 out of 10

FULL STORY - "Mind Bokeh" begins modestly with 'Excuses,' as the ominous track slowly takes shape amidst a flutter of sound effects and digital noise. The song is continuously building and morphing colors as it turns into something of an avant garde, digital-european feel. The track then segues into the patient 'Pretentious' as dirty snare drums and what sounds like broken clocks play. Bibio does a great job at building anticipation and excitement in their music - you can almost compare them to Flying Lotus - there's always something up around the bend. As 'Pretentious' continues to build, the song transforms into this incredible slow jam complete with wavering synth lines and hooks.

'Anything New' is an unbelievable tune, that is chopped up, glitchy, yet is incredibly listenable. The song has a great dance feel that you would have never expected. Contributing to the song's appeal are the layers of hooks and riffs that capture your ears. The song also maintains a steady diet of diversity as the instrumentation is constantly changing and introducing new pieces.

'Light Sleep' brings the funk. This track is lively and has an early disco's feel to it, and is produced with a real retro and vintage feel to it. Just listening to 'Light Sleep' takes your mind away to a different place and puts you in a great mood. The song is something that I would have expected to hear on some AM Gold radio station in 1975. Once again there are numerous synth hooks and melodies that appear, only this time they are over a bed of wah-guitars and some very modest, yet ingenious percussion.

When I first heard 'Take Off Your Shirt' I was like...'oh no, Bibio what are you doing?!' The track begins with collection of hard guitar riffs and sounded like it was going to turn into some terrible rock song. This was a far departure from the Bibio I've come to know. But yes, it is a rock song - and yet it's somehow growing me. It gives Bibio that extra punch and power that you would really never expect. I still haven't come completely around on it, but nonetheless, it's very cool to see a band that refuses not to enter different genres.

'Artists Valley' will take you back to old school Bibio as the track begins with a raw folk feel. From there waves of snares, synth and digital effects come to the forefront. For the most part the track is fairly downtempo and establishes a couple nice grooves, while remaining somewhat raw and unfiltered.

'K is for Kelson' appears to be the 'Lovers Carvings' of "Mind Bokeh." It's one of those songs that are just fun to listen to. There is so much energy and excitement - and just makes you want to move around. The track feels huge, and sounds like it uses no less than 50 different instruments. The outro of the song is also worth mentioning as it has one of the coolest sounding dual synth leads I've ever heard.

While "Mind Bokeh" does tend to leave behind much of the folk influences they experienced with on "Ambivalence Avenue," (don't worry, there is still some there) the record jumps Bibio's career up another notch or two. The album is filled with artistic interpretations of both classic and newer forms of music. When these styles are created with the skill and talent of someone like Bibio, the music really jumps out of the speakers and makes you appreciate what exactly you're listening to.

Have a listen to 'Light Sleep.'

Tracks

1.) Excuses

2.) Pretentious

3.) Anything New

4.) Wake Up!

5.) Light Sleep

6.) Take Off Your Shirt

7.) Artist's Valley

8.) K is for Kelson

9.) Mind Bokeh

10.) More Excuses

11.) Feminine Eye

12.) Saint Christopher

WK13 - Destroyer - Kaputt (3)

Released - 1/25/11

Label - Merge Records

BLURB - I have to say, Destroyer's "Kaputt" has to be one of the biggest flops of 2011. I had such high expectations for the record, as a barrage of buzz was filtering in and out of Brooklyn Vegan and Gorilla vs. Bear. The album is slow, unadventurous and tedious. Yes, certain parts are incredibly mellow and unexpectedly colorful, but "Kaputt" is not something that will be making it's way into my everyday playlist.

Rating - 3 out of 10

FULL STORY - First things first, yes I know Destroyer has been around for years and years, and I am just now trying to get into his music. Forgive me. But in all seriousness, doesn't that just provide me with objectivity? The first time I heard of Destroyer was a few months back when Gorilla vs. Bear featured his video for 'Kaputt.' I loved it. Even if you haven't seen the video, just Google it...it's worth the six minute watch. But almost immediately after I watch the video I knew I'd have to go buy the album. The song itself was ok, but the video was so cool that it just kind of spiked my interest.

And so I guess I'll begin with 'Kaputt.' The worst part of 'Kaputt' is that it clocks as the sixth track on the album, so if you're trying to listen to the record straight through, you really have to sit through five terrible songs before you get to one 'ok' track. 'Kaputt' is very mellow and relaxing and kind of just floats around. It has a very day-dreamy feel to it. The lyrics also create a sense of wonder and aimless journeying:

"Wasting your days, chasing some girls. Alright..chasing cocaine - through back rooms of the world all night"

Musically, 'Kaputt' is very minimal - which I do like for this particular song. It reminds me very much of a pop / keyboard-driven version of The XX.

Unfortunately, the rest of the album is just an abysmal failure of monotonous and uninspired keyboard pop. I would really just be wasting time if I tried to go through, song by song, and review each. They are all that similar and invariably use the same formula. Slow keyboards, slow lackluster bass lines and the occasional saxophone solo. The vocals aren't anything to write home about either...pretty much just spoken dialogue in a soft tone. I'm just not feeling it...

Take a listen to Destroyer's 'Kaputt.'

Tracks

1.) Chinatown

2.) Blue Eyes

3.) Savage Night at the Opera

4.) Suicide Demo for Kara Walker

5.) Poor in Love

6.) Kaputt

7.) Downtown

8.) Song for America

9.) Bay of Pigs