WK4 - Tapes 'n Tapes - Outside (5.5)

Released - 1/11/11

Label - ibid Records

BLURB - Oh what to make of this Tapes 'n Tapes? This indie-rock band has been riding an enigmatic wave of success and failure for the last four or so years. They went from being buzz-worthy, to written off as frauds, to teeming with potential to back in the dumps. Their story can be compared to a typical teenager's identity crisis in high school. Sometimes their music is hard and aggressive while other times it's soft and gentle. They are constantly working in new directions, but never know exactly where they're pointed. "Outside" is a great example of the band's struggle to find their place in the indie music scene. Some tracks feel Black Keys-ish, others are akin to Vampire Weekend - and some venture off on other random musical tangents. Their latest record has a couple bright spots, but it's still pretty obvious the band remains uncertain as to who exactly they are.

Rating - 5.5 out of 10

FULL STORY - This review may actually turn into an attack on Pitchfork, so bear with me. A few years back just as Tapes 'n Tapes was beginning to break, their latest record, 'The Loon' was acclaimed as 'Best New Music' by the music site. For those that don't know, the 'Best New Music' tag holds a certain amount of weight and influence in the industry. For many artists it's more or less a stamp of approval for an already deserving release. But for others, it's often un-merited and turns into something of a curse. Due to the alarming number of people that choose what they listen to based solely on music sites like Pitchfork, their powerful reviews can often create fraudulent fan bases and a false sense of accomplishment.

The latest example of this came with Smith Westerns' "Dye it Blonde." Smith Westerns have been a slow building indie rock band that has been subtly turning heads for the past few months (I actually gave their album an 8.5/10 a few weeks ago). It's a great record. But despite their newfound success, they were still (and are) relatively unknown by the masses. A couple weeks ago Pitchfork deemed "Dye it Blonde" as 'Best New Music.' Within a matter of days their shows started selling out and you couldn't google 'indie rock' without getting 50,000 hits claiming that Smith Westerns were the next Beatles. Maybe it's true. But where did all these fans suddenly appear from? Why do they all of a sudden (days after Pitchfork released their review) think Smith Westerns are so incredible? Have the even listened to this record in it's entirety? Are they really that familiar with their music? It's extremely curious and irritating.

And this brings us back to my theory on Tapes 'n Tapes. I really think that once some guy wrote that review on Pitchfork for them, people fell in love with the band for no particular reason. They were just blindly following their music because someone said so. And so as the years passed and people actually listened to and became familiar with Tapes 'n Tapes, they were beginning to realize they weren't as 'incredible' as some writer of a web site thought. So, the moral of the story is, have your own opinion. Music is so amazing because of how universally varied it is. Like what you like, because you like it...and that's that.

Enough rambling.

"Outside" begins with a great sense of excitement in the track 'Badaboom.' The song plays like some kind of marriage between Arcade Fire and Cage the Elephant. As the song begins the percussion, along with the music, varies and slowly builds in intensity as the track forms it's course. There is a clear sense of pace, direction and movement that provides a great sense of structure and organization. As the song progresses you find yourself becoming more invested. By the end, a barrage of furious and aggressive guitar chords form a momentous bridge/outro that will leave you sore. What a great start to the album!

So after 'Outside' we're all feeling great. This is going to be an awesome, powerful, aggressive indie rock gem. Then 'SWM' happens. All of the emotion and energy created by 'Outside' comes to an abrupt halt as you hear the sullen acoustic guitars begin to play in 'SWM.' The song is stagnant, slow and boring - never really accomplishing anything. Also, for some reason, I just find the vocals on this track annoying. I really don't know why. I can't explain it. They just seem uninspired and apathetic.

Now that we're officially on the Tapes 'n Tapes roller coaster, it'd only be fitting that they through us for a loop. The third track, 'One in the World' is a fun and ambitious track that conjures up comparisons to Vampire Weekend and Fool's Gold. Clean guitars and even some horns toss around several playful hooks and melodies that will reel in just about anyone. Aside from being a great song, 'One in the World' does raise some eyebrows. The first track was a hard hitting, aggressive indie rock daliance. The second song was basically an annoying, throw away acoustic number. And now the third song is some afro-pop adventure that, admittedly, I enjoyed. What's going on?

Sadly, but predictably, from here on out the album tends to settle into a bit of slower paced indie rock, with no real excitement or solidarity. 'Desert Plane' is repetitive, monotonous and unenthusiastic. 'Outro' (which appears in the middle of the record) is actually kind of cool. There is a distinct sense of mood and atmosphere that serves as a nice interlude and break from the album's lackluster persona. 'Freak Out' plays like the bastard child of a lo-fi punk band and Fleet Foxes. It just doesn't work. 'People You Know' is another folksy track that, but actually sounds good. The song itself is fairly anthemic. There is also some actual emotion and inspiration in the vocals that helps steer the course in the right direction, while remaining calm and airy - I'd almost liken it to something off of a Real Estate record (but more-fi). This is only to be followed by 'On and On,' what sounds like a science project that Caribou and Deerhunter concocted. It's kind of electronic, but not really...it's hard to describe. But it definitely does not fit within the confines of 'Outside,' but that being said it is pretty cool.

What you have with Tapes 'n Tapes is a constant battle of trying to figure out just who they are. For me it's too much work. It sounds like they are trying to please everyone and as a result, cover too many genres without being successful in any one of them. Their music is entirely too indecisive, cautious and unambitious. Tapes 'n Tapes might be a good listen from time to time, but they remain a band that I just can't get into.

Have a listen to "Badaboom"

Tracks

1.) Badaboom

2.) SWM

3.) One in the World

4.) Nightfall

5.) Desert Plane

6.) Outro

7.) Freak Out

8.) The Saddest of All Keys

9.) Hidee Ho

10.) People You Know

11.) On and On

12.) Mighty Long

WK3 - Tennis - Cape Dory (8)

Released - 1/18/11

Label - Fat Possum Records

BLURB - It's hard not to fall in love with the earnest and charming nature of Tennis' "Cape Dory." Filled to the brim with airy pop songs that will make us all want to run out to the beach and grab a lemonade, the record plays as a soundtrack for a trip the shore, circa 1966. Mellow, washed out guitars and vintage vocals form the core of Tennis' persona, which plays off as some kind of marriage between Best Coast and Beach House. The only thing lacking on this fun and breezy album is some kind of substance or depth. Each song sounds like it was manufactured in the same mold, providing a serious lack of diversity. That being said, "Cape Dory" is a decent throwback-pop album that will definitely help take your mind off of this crappy winter weather.

Rating - 8 out of 10

FULL STORY - The back story to Tennis is a fairly interesting one. The duo (husband and wife) sold all of their belongings after college in Colorado, to venture off on an extended trip along the Atlantic Ocean, resulting in a collection of material that would turn into "Cape Dory." Initially the duo released the song 'Marathon' as their first and only single. Music fans of every genre flocked to 'Marathon' and instantly fell in love with the casual beauty and buoyant pop sensibilities of the track. From that moment on (probably Summer of 2010), Tennis has been one of the most sought after indie bands. People wanted more. What ensued was an endless underground marketing campaign that saw Tennis being featured in nearly every music blog this side of the Williamsburg Bridge. And so this past week "Cape Dory" was finally released, but not to everyone's delight. The album comes off as hurried and uninspired. Nearly every track seems to have been concocted off of the Tennis musical assembly line, making for a stagnant and repetitive repertoire. Now, all this being said - the majority of "Cape Dory" is more than enjoyable and will strike a chord with anyone that enjoys a good pop album. But I do think the hype and lofty expectations certainly did put a damper on everyone's spirits.

'Take Me Somewhere' leads off the album and lends a bright-eyed, exciting, 'the world is at our fingertips' mood. The song seems like the perfect opener for any married couple that just left college and are traveling along the eastern coast - searching for inspiration. Much of the track is laid back, floating along without any sense of direction. The music is very minimal, consisting mostly of just drums, guitar, vocals and the occasional organ. When the chorus hits the pace does pick up and finally offers some structure.

Title track 'Cape Dory,' which has seen several different variations released, is much in the same vein as 'Take Me Somewhere.' The song begins slowly and innocently before organizing into a solid beach tune. Shade of 60's pop emerge as the vocals turn into a chorus of "Sha La La's" towards the end of the track.

The widely approved 'Marathon' doubles as one of the album's best offerings. The song is constructed around a warm and infectious bass line that carries the track on it's shoulders. 'Marathon' is also one of the album's most diverse tracks. The song varies both it's pace and instrumentation constantly, keeping the listener interested and snapping their fingers. The lo-fi nature of the song only ameliorates the vintage/retro feel that 'Marathon' is soaked in. If I played this for you and told you it was a pop hit from 1965 by a surf band in San Diego...you'd believe me.

My personal favorite on the album is 'South Carolina.' The first couple of times I heard the track I thought it was boring, and didn't really do anything. But for whatever reason this song continues to grow on me. One of the reasons, in my opinion, is the strong vocal performance - as 'South Carolina' is one of the few tracks that ventures outside of a single octave of notes. The muffled and fuzzy guitars create a great sense of nostalgia that mixes perfectly with the endearing and light-hearted vocals.

Sure, I'd like the album to have some more depth and chances. I'd like there to be more variation and creativity. I'd like for every song to not sound eerily similar to the previous one. But still, as a whole, "Cape Dory" is nothing short of an impressive debut. It's an album that you can throw on, hit play and relax to. I said this about Kisses first album and I'll say this about Tennis' - it's great hot tub music. You don't have to worry about skipping ahead, or scrutinizing the music - it's a no-fuss, no-hassle collection of summer hooks and melodies that will always leave you in a better mood.

Have a listen to "South Carolina"

Tracks

1.) Take Me Somewhere

2.) Long Boat Pass

3.) Cape Dory

4.) Marathon

5.) Bimini Bay

6.) South Carolina

7.) Pigeon

8.) Seafarer

9.) Baltimore

10.) Waterbirds

WK2 - Smith Westerns - Dye It Blonde (8.5)

Released - 1/18/11

Label - Fat Possum Records

BLURB - I had heard a little of Smith Westerns' music a couple months back and could tell they were going to have a decent 2011. With the indie-scene pretty much exhausting the lo-fi rock genre in 2010, someone had to come in and clean it up a little bit. Taking on that task, Smith Westerns usher in perhaps a new era, with their debut record filled with melodies, hooks and songs you can't help but sing along to. While the album still sounds a bit raw, you can't help but notice how tight and clean, yet uncompromisingly original it is. Think Ariel Pink meets The Thrills.

Rating - 8.5 out of 10

FULL STORY - The amazing thing about Smith Westerns, is that as of this date, none of the band members are old enough to drink. Hailing from Chicago, the band somehow conjures up tones, themes and colors that you'd expect to hear around a southern California beach. The album is incredibly breezy, bright and laid back - yet it also packs that veritable 'rock n roll' punch.

Opening the album is 'Weekend,' a smooth and gentle track that will casually float through your speakers before you know how great it is. Everything from the chord progressions to the charming background vocals are delivered with precision and grace. This song sounds like it was effortless to make, and it shows. Cleverly placed guitar riffs add character and balance to the song, and do a terrific job supporting the numerous hooks and melodies.

'Imagine, Pt 3' is filled with atmospheric harmonies and backing vocals over bouncing pianos. The song has a very warm and inviting feel to it. As with 'Weekend,' guitar lines puncture the song's ambient tone. The song is also broken up with varying degrees of intensity and force, giving the track a sense of diversity, rather than just allowing the music to muddle around in a haze.

'End of the Night' is packed with energy and makes for the perfect Saturday night song. The song opens with a smattering of screeching guitar riffs that flow in to the song's verse. As is the theme with much of the album, 'End of the Night,' does a great job switching up everything from the pace to the instrumentation. It makes listening to this song, and the album, exciting - as you never know what's around the corner. The lyrics tell a tale of a guys' night and convincing a girl to stay the night:

"We had fun, we didn't know what time it was. Close your eyes, oh girl, then I'll stay close. Don't know why the sun's up in the sky, close your eyes, oh girl. Then I'll stay close. Everybody wants to be a star on a Saturday night. Come with me baby and your eyes shine the sunlight. It's the end of the night, its the end of the night...are you gonna go home?"

Smiths Western's "Dye It Blonde" is filled with fresh musical perspectives and a genuine sense of excitement. As with the new year, there is a new level of intrigue and ingenuity that seems to bubbling underneath the surface of the music scene. And at the front of this wave is Smith Westerns. Fans of everyone from Ariel Pink, Real Estate, Woods, The Thrills, Surfer Blood and Dr. Dog will want to check out "Dye it Blonde."

Have a listen to "End of the Night."

Tracks

1.) Weekend

2.) Still New

3.) Imagine Pt. 3

4.) All Die Young

5.) Fallen in Love

6.) End of the Night

7.) Only One

8.) Smile

9.) Dance Away

10.) Dye the World

WK1 - Charles Bradley - No Time For Dreaming (6.5)

Released - 1/25/11

Label - Daptone Records

BLURB - Well, I'm back for year three of 52 Records, so why not have my first review center around some sweet soul music? Along with Sharon Jones and Lee Fields, Charles Bradley has been one of the cornerstones of the Daptones label which has been growing by leaps and bounds the past few years. The album is more or less what you would expect from the Daptones' family...vintage soul, classic pop hooks and just a little bit of funk. While the album certainly is listenable and entertaining, it can become a bit monotonous through certain stretches. But overall, yet another solid release from Charles Bradley and the Daptone label.

Rating - 6.5 out of 10

FULL STORY - Bradley's voice sounds like he's either 60 years old or he's smoked a pack of cigarettes every day since he was 8, or both. There is a raspiness and inherent sense of wisdom in his voice that somehow makes him credible. You get a sense that Bradley has 'seen some things.' That being said, Bradley really doesn't have much range or sense of harmony - much of the vocals comes off just as powerful spoken word. Despite this, Bradley still finds a way to add both color and emotion to the lyrics.

Much of the album is filled with clean guitar progressions, horn sections and classic soul bass lines. Opener, 'The World (Is Going Up in Flames)' is certainly a good demonstration of this. While the song is somewhat stagnant (no dramatic shifts in momentum or tempo), it's filled with subtle hooks and grooves. Helping to compliment Bradley's vocals are layers of background harmonies that provide some sort of balance.

'Golden Rule' sounds like it's going to be great as, initially, the pace picks up and there is a great swing-rhythm to it. However, during the verses the tempo comes to a screeching halt as Bradley enters in with his vocals. The pace and excitement returns for the chorus, which is brilliant, but all this really does is make the verses seem all the more awkward and out of place.

'Trouble in the Land' is one of my favorite tracks on the album, and it's an instrumental...go figure. The track dances around a solid groove as several different instruments enter and exit, delivering riff after riff, for about sixty seconds. Regrettably, the song fades into 'Lovin You, Baby' which is a slower track that completely kills the buzz I had just gotten from 'Trouble in the Land.'

Title track, 'No Time For Dreaming' is likely the album's strongest song. There are some elements of funk on this track that really don't surface on the rest of the record. Outbursts from the horn section, a few clever guitar riffs and some solid background harmonies is all Bradley needs to shine on this one. There's also a great little bridge/break-down around the 1:40 mark that displays the party-vibe this track evokes.

All-in-all, this is a great album of throwback soul music, and is entirely listenable. But for the most part, the album is somewhat boring in the sense that there isn't anything that really jumps out at you (aside from Bradley's vocals). There's no 'it-factor.' Even still, this album will absolutely resonate with fans of Sharon Jones, Lee Fields and even Amy Winehouse. It's really not as bad as I might be leading it on to be..

Take a listen to "The World (Is Going Up In Flames)"

Tracks

1.) The World (Is Going Up in Flames)

2.) The Telephone Song

3.) Golden Rule

4.) I Believe In Your Love

5.) Trouble in the Land

6.) Lovin' You, Baby

7.) No Time For Dreaming

8.) How Long

9.) In You (I Found a Love)

10.) Why Is It So Hard

11.) Since Our Last Goodbye

12.) Heartache and Pain

13.) Brother, I'm Down