WK15 - MGMT - Congratulations (8.5)

Released - 4/13/10

Label - Sony Music Entertainment

BLURB - 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.

Rating - 8.5 out of 10

FULL STORY - "It's Working" starts off with a quick surf-rock hook that briefly makes you think, oh great MGMT has gone SoCal on us. But as you stay with the tune you kind of have to slap yourself for thinking that. "It's Working" introduces the listeners to the new MGMT and more importantly the concept behind the album. The concept being this rightfully selfish idea that MGMT wanted to create the best record MGMT could create. It would be big, it would be progressive, and record labels would hate it. But more importantly...it would be MGMT. Everything from the instrumentation to the vocals to the production on the album, has a very over-the-top feel. It's somewhat hard to explain, but on "It's Working" the tones feel brighter, the instruments seem tighter - a great way to introduce the album that everyone's been waiting for. The great thing about "It's Working" is that the song is constantly changing, making it impossible to stop listening to. No two verses are the same as MGMT cleverly varies the arrangements, pace and style of each. Additionally as the song is ending, the chorus modulates to several different keys, creating new shades and colors that are constantly enhancing and augmenting it's feel.

The third track on the album feels like something out of a broadway musical. "Someone's Missing" draws the listener in with it's gentile guitars and eloquent vocals. Within a minute or so, MGMT slowly starts building up and readying for the refrain - creating anticipation and excitement as they go. As "It feels like someone's missing..." rings out, you instantly want to stand up and sing along. There is a unifying yet psychedelic quality to this song that reminds me of something that would have come out of Haight-Ashbury back in the day. Maybe it's just the ironic nature of this incredibly feel-good and uplifting track that ponders the idea of someone that may or may not be missing. Whatever it is, it works. Also, that funky descending bass line doesn't hurt.

The so-called single of the album, if you can call it that, is "Flash Delirium" and it is no "Electric Feel." The only way I can describe "Flash Delirium" is weird. When I first heard it I was like, "What the fuck is this?" As an admitted fan of MGMT's past hits, this new single came out of left field and blindsided me. The song itself is fairly eery and wanders around for a while just looking for a place to set up shop. This place comes at about two minutes into the song when we're met with a flute solo and a slowed down bridge that pushes us to the edge of our seat, wondering just where the hell this song is going to go next. After one last obligatory chorus, the music briefly cuts out leaving a chorus of vocals - leading directly into an amazing production that serves as the outro. You can call it the 'wall of sound' effect or whatever you want, but MGMT once again fuses everything they possibly can into this portion of the song and it pays off. Among other instruments, the organs really stand out and add character and depth to this not so normal single. The other great aspect of the song is the lyrics, and their general wackiness:

"The hot dog's getting cold and you'll never be as good as the Rolling Stones. Watching the birds in the airport gathering dirt, crowd the clean magazine chick lifting up her skirt."

MGMT begins getting their Pink Floyd and Beatles comparisons on their epic "Siberian Breaks," which clocks in at 12:10. After starting out with solely acoustic instruments, the group slowly begins incorporating a middle eastern flair, creating a nice wrinkle in the music that we've heard in Congratulations, up to this point. After a very full and bright chorus, MGMT switches the tempo up, simultaneously switching their vocals to that of spoken word. This spoken word section is accompanied by numerous, well-crafted instrumentals transforming the song in to this strange, musical fairy tale-esque atmosphere. After weaving their way in and out of this atmosphere, the track begins to reclaim shape around the seven minute mark. From there we begin to feel like this journey is coming to it's terminal, but no - we're presented with an outro that sounds like something straight off of "Toeachizown." Brilliant.

Rounding out the album is perhaps the only song that synchs up with that initial surf-rock lead-in we heard on "It's Working" with "Brian Eno." Easily the fastest and most frenetic track on the album, "Brian Eno" provides that perfect shot of energy you need after listening to "Siberian Breaks."

The eighth track on the album offers up a complete instrumental and a masterfully crafted dark soundscape, aptly titled "Lady Dada's Nightmare." I have no idea who Lady Dada is, but I'd imagine if she ever had a nightmare - this is exactly what it would sound like.

While I can do without "I Found a Whistle" and title track "Congratulations," the album as a whole is exceptionally well done and unlike anything I've heard the past 5-10 years. For that reason alone I feel like this album will still hold weight and credibility for the next 5-10 years, and likely even longer that. If you're were looking to get another album of "Electric Feel" and "Kids," you're terribly mistaken. Listening to "Congratulations" makes "Oracular Spectacular" feel uninspired and predictable. Now that's saying something.

Tracks

1.) It's Working

2.) Song for Dan Treacy

3.) Someone's Missing

4.) Flash Delirium

5.) I Found a Whistle

6.) Siberian Breaks

7.) Brian Eno

8.) Lady Dada's Nightmare

9.) Congratulations

WK14 - Pantha du Prince - Black Noise (6.5)

Released - 2/9/10
Label - Rough Trade

BLURB - Enter Hendrik Weber from Germany. Once again I heard about this guy through a friend at work (I love working in music) and he quickly compared him to a German futuristic Panda Bear. Sweet! Very quickly I got my hopes up thinking this Pantha du Prince guy would be some weird, yet awesome amalgamation of Animal Collective and Flying Lotus. It's been a month of listening now and I'm still undecided on how amazing or mediocre this record is. It's really hard to get a hold of Pantha du Prince because his music is so precise and methodical that it is both equally parts impressive and mundane.

Rating - 6.5 out of 10

FULL STORY - So when I was making the Panda Bear and Animal Collective comparisons I instantly started looking for those freaky layered medleys mixing with unconventional pop vocals. Unfortunately, "Black Noise" is void of lyrics for the most part as only a couple of tracks actually have any vocals. Maybe the title "Black Noise" should have clued me into that. At any rate this kind of altered my perception and expectation of the album.

As far as my hopeful Flying Lotus comparability - this was also off. We all know Flying Lotus is all over the place (in a good way) and has no limits in his creativity for defining what a song should sound like and consist of. Pantha du Prince is much more restrained and has an entirely different creative aspect to his songs. They are much more meticulous and calculated. They all slowly build with minimal drum beats and steadily building bass lines that kind of mull you to sleep, but at the same time they are easy on the ears and can become very addicting. He also does nice job of filtering in noise and lo-fi ambience which provide his tracks with a lot of air and space. It's great background music that you can just zone out and relax to, while still tapping your foot to the beat.

The best song on the album is "Stick To My Side" and very well could be one of my favorite songs of this year. The track starts off very slowly with just bells and a kick drum that wander around briefly before agreeing to work in unison. Augmenting this very simplistic track are punches of static noise, adding the obligatory lo-fi haze that I'm pretty sure was passed into legislation this year. After a little meddling and indecision a snare drum finally kicks in and an awesome electronic bass line establishes itself. This is one of the few tracks that does in fact have vocals on it, and they are amazing. Weber does any amazing job of layering melodies and doubling the vocals as they fade in and out of runs. But enough foreplay already. Panda Bear is on the track too...that's why I like it so much. Which begs the question, is this album like "Logos" from Atlas Sound? The answer to that is kind of, but not really. Atlas Sound got in trouble by making one amazing track in "Walkabout" with Noah and filled the rest of the album with garbage and depression.

With "Black Noise" we do have the same concept in that there is one great standout track, but the rest of that album is not garbage. But by having "Stick To My Side" on the album it does raise my expectations and standards for the rest of the album.

Other tracks of note on the record include "Behind the Stars" which has a somewhat dark, industrial tone but ironically does have some pop aspects to it. It sounds like something I would hear at a rave in a loft in Germany, if that makes any sense. Conversely, "Bohemian Forest" is a very bright song that incorporates xylophones and jungle sounds, providing a nice atmospheric palette of sounds and effects. The track is another slow starter that morphs into an uptempo gem without becoming too chaotic. You can really appreciate his patience and decision making process as far as knowing what to do and when to do it

I don't want to say the rest of album is filler because it isn't. For the most part, all of the tracks on the album are beautifully constructed, balancing hazy house music with minimalistic German techno. By no means is this a Benny Benassi album, but a lot of the tracks do become repetitive and monotonous. This is hard to say though, because there is so much thought that went into each track and the production - his creative sense and musical awareness are off the charts. However, there aren't many 'this is awesome' moments or tracks that really jump off the album, with the exception of "Stick To My Side." So how much credit can we really give Pantha du Prince when the best song on the album is carried on the shoulders of Panda Bear? Weber is not Atlas Sound - this is fact. But I'd like to see where his music goes over the next couple of years...he's certainly got the potential.

Tracks
1.) Lay In a Shimmer
2.) Abglanz
3.) The Splendour
4.) Stick to My Side
5.) A Nomad's Retreat
6.) Satellite Snyper
7.) Behind the Stars
8.) Bohemian Forest
9.) Welt am Draht
10.) Im Bann
11.) Es Schneit

WK13 - The Whigs - In The Dark (3.5)

Released - 3/16/10

Label - ATO Records

BLURB - The worst thing in the world is trying to force creativity. Trying to force something that isn't entirely there. Trying to think outside the box, when you can't even think inside the box. Meet The Whigs. They've been around for the past few years, or so I'm told, and they've been slowly building steam out of their home base in Athens, Georgia. After hearing a fair amount of buzz, excitement and pre-meditated acclaim, I stumbled into their brand new album, "In the Dark." Luckily, I stumbled right out of it. "In the Dark" begs the question, 'what makes a good rock band?' More-so, what is our definition of good? This album is lazily and complacently packed together with a sound that can only be described as something The Whigs assume people who like rock music, would like. I'll put it this way. If Kings of Leon had a bunch of younger, less ambitious brothers, and they made an album...it would sound like The Whigs.

Rating - 3.5 out of 10

FULL STORY - I think The Whigs and "In the Dark" could very well be the 2010 equivalents of Cage the Elephant. The typical indie-rock band that is carefully treading the mainstream and underground scenes, hoping that one album will push them over the top. Whereas Cage the Elephant was a legitimately creative band, The Whigs seem to get by on their look and feel and assumption that they are this great new rock band. Unfortunately, the indie rock world (more specifically - straight up rock) is a fickle mistress. The amount of rock bands that rise from the underground, succeed and continue to flourish, are few and far between. Kings of Leon came from the underground, but they essentially had to alter their sound to make it big, and ultimately sold out. Cage the Elephant had a decent amount of mainstream success last year, but we haven't really heard anything from them in 2010. Jack White's Dead Weather was supposed to be this ingenious collaboration that would appeal to mainstream and indie rock fans...it failed horribly (in my opinion), despite their decision to make a second album. So as you can see, it's already a tough climate for rock and indie-rock bands. To come out with an album like "In the Dark" and expect big things is extremely naive.

The first track, "Hundred / Million" is wonderful display of the point I'm trying to make. The prototypical great rock song usually has a solid, catchy riff and a powerful chorus. "Hundred / Million" begins by establishing a short riff simultaneously performed by a deep bass line and fuzzy, distorted guitars. There are never any alterations or augmentations on the riff and within 30 seconds it's already feeling tired. From there we go straight into a very brief chorus that seems to come in way too early and doesn't particularly accomplish anything. The same riff from the verse also very subtlety outlines the chorus as well. As the chorus finishes we immediately go back to the same riff, but in verse form. It's like they just came up with the riff, got stuck on it, and decided to use it for everything.

Following "Hundred / Million" is "Black Lotus." Contrary to the opener, this song actually varies itself nicely and throws in some great, upbeat drumming patterns during the chorus. However, the vocals are filtered with some kind of tinny, megaphone effect in what appears to be an effort to make the whole song seem more distorted. Here's my thing, if you're going to be a good rock band, you've got to have good, pure vocals. Play your instruments and sing your song, that's all that we really want, and two songs into this album we've received neither.

At least for me, I like my rock bands to have a decent pace and tempo. The Whigs once again fail to impress me on "Someone's Daughter" as this track is filled with elongated chords and monotonous vocals that tend to drag their feet. This is coupled with uninspired riffs and solos that are neither catchy nor productive. The whole vibe on this track feels like a generic 90's rock band...I'm thinking of Oleander or even Fuel here.

Here's the one bright spot on the album: "I Don't Even Care About the One I Love." Once again the vocals appear to be filtered a little too much, but it actually works on this song. What's interesting about this track though, is that it really doesn't sound like the majority of the album, and for that reason alone it really jumps out. There are plenty of hooks (both vocal and instrumental) and they incorporate pianos and organs. Even the solo on "I Don't Even Care About the One I Love" feels right. There is a much more inspired and creative aspect to this song that I can't quite define, but it's in the vein of The Black Keys or Delta Spirit and it works.

That being said, this album is pretty much a collection of B-level tracks that never amount to anything. Largely, "In the Dark" seems forced and predictable. Could they just be trying to cash in on the fame of acts like Kings of Leon? It's an easy statement to make, but no band sets out to sound like another band...or at least they shouldn't. I'm not insinuating that this is the circumstance, but again, it's easy to come to this conclusion...especially when you've just announced you're touring with Kings of Leon.

Tracks

1.) Hundred / Million

2.) Black Lotus

3.) Kill Me Carolyne

4.) Somone's Daughter

5.) So Lonely

6.) Dying

7.) I Don't Even Care About the One I Love

8.) Automatic

9.) I Am For Real

10.) In the Dark

11.) Naked

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