WK36 - Bibio - Ambivalence Avenue (9.5)

Released - 6/22/09

Label - Warp Records

BLURB - This album is all over the place...like an 8 year old's ideal ice cream sundae. But with Bibio it's not M&M's and Gummi Bears, but an eclectic and diverse portioning of gentile acoustic, chopped up computer loops, indie rock and Haight-Ashbury psychadellica. Having these genres all present for a single song could likely cause a musical civil war, however Bibio finds a way to weave in and out of these nomenclatures throughout the entire record. At certain points of the record you really feel like it is 1968 and you're listening to a folk group on a street corner in San Francisco. At other points you're right back in 2009 with computer generated drum patterns and cut-up vocals battling an unsettling slew of sound effects. What a weird, no..., great mix.

Rating - 9.5 out of 10

FULL STORY - I'll start with the more retro and nostalgic parts of this album. It's actual really tangible and transports the listener back to an era when a black coffee, cigarette and an artsy beret were all the rage. Things were simpler then and so was the music - but in more of a practical sense. There weren't as many barriers to music and lyrics. For the most part if you were a songwriter and wished to convey some type of message, emotion or thought, all you needed was a pen and a guitar. Nowadays too much thought and production goes into song making, which definitely affects the sincerity, honesty and creativity of the music. I think Bibio recaptures this older, poetic simplicity through several tracks on 'Ambivalence Avenue.' There are common themes of friendship and togetherness bonded through waves of carefree and unrestrained honesty. The vocals on the title track are presented as a group, almost uniting the cause, and they are surrounded by what can only be viewed as their supporters masked as flutes, violins, pianos and guitars. Bibio's lyrics match his peaceful musical entourage:

"Then we saw from the upper deck, watching ourselves as if seeing our future. Greeted by strangers who seemed to be good friends and welcomed us through their shiny red door."

'Lovers' Carvings' (#10 song of 2009) greets us with another warm and familiar feel, as if it's 20 years ago and the family is eating at the dinner table, then collectively and instantaneously, they decide to dance. As the song begins there is a lone, electric guitar softly finger-picking a ballad that wanders and strays, but never goes to far off the beaten path. In itself it's pretty beautiful. As implied above...good music to eat a meal with your family to. Then the cowbell starts. Then the guitar picks up. Things get a little more upbeat. Before you know it everyone is standing at the table and clapping to the beat. How did this happen? There is some weird, incredibly unifying force to this song that I can't quite pinpoint. It just screams family, friends and memories. The lyrics are actually somewhat dark, but their force and delivery ultimately brighten them up to a pristine and hopeful glow:

"Lovers names carved in walls - overlap and start to merge. Some of them underneath. Maybe they appear in graveyards. Maybe they fade away, weathered and overgrown...time has told. Meaningful, hidden words suddenly appear from the murk. Maybe they're telling us that the end never was. Never Will. The words have gone but the meaning will never disappear from the wall."

As I said, this record really is a Jekyll and Hyde of sorts. Some other nostalgic highlights include the somber tale of a couple parting in 'The Palm of Your Wave' and the ephemerally-stringed 'All the Flowers.' Enter Hyde. Despite showing his obvious skills in honest, yet beautiful songwriting and lyrical arrangements, Bibio also knows his way around a computer. He wants us to know this.

Complete with no lyrics and chopped up vocal samples, Bibio floors me with his digital prowess on 'Fire Ants.' I can only describe it as a production similar to that of Flying Lotus, but with a dash more pop appeal. It's incredibly smooth and laid back, yet properly upbeat during certain portion of the track. Why Kanye West or Common haven't found this, reworked it, and threw out a hit is still making me scratch my head. Incredible beat.

'Sugarette' is a nice, slow building electronic number that kind of meanders along with both curiosity and indifference. It's simplicity makes me think. But the main reason I like this song is that it serves as the perfect transition from the dark and mysterious ending of 'Haikuesquesque' to the melancholy turned bright guitar introduction of 'Lovers' Carvings.' If ever a song served a purpose, it is this. 'Sugarette' acts like a musical adhesive and propels the listener along, almost in storyboard fashion. I don't know why I really like this strategy, but I do. I feel involved. I feel like I have to listen to one before I listen to the next, and that I'm better because of it.

'Dwrcan' is a really futuristic and ambitious choice for the final song on the album. The track starts out kind of funky with some creative, electronic percussion effects and a rigid bass line. Some other minute things are going on as well, with little keyboard riffs and digital effects accenting each other. Halfway through the song it sounds like a bomb goes off and the tone of the music changes drastically. Everything becomes chaotic and is filled with tension. With 90 seconds left the track leaves only atmospheric drones. End of the world? Feels like it.

This is going to be one of those albums I really like, but will inevitably find myself being tossed in to the minority. 'Ambivalence Avenue' is a veritable ying yang of music and ideas. Conceptually, it's brilliant. The tracks with warm instrumentation and thoughtful lyrics, the ying, are all beautifully done and inadvertently force us to reminisce about friends and the good old times. Conversely, the yang, is filled with dark and experimental electronic jaunts, which propel us into the future where we're met with the thought of a possible apocalypse. These combative styles, concepts and moods really make this record for me. I want to get inside Bibio's head.

Tracks

1.) Ambivalence Avenue

2.) Jealous of Roses

3.) All the Flowers

4.) Fire Ant

5.) Haikuesque (When She Laughs)

6.) Sugarette

7.) Lovers' Carvings

8.) Abrasion

9.) S'Vive

10.) The Palm of Your Wave

11.) Cry! Baby!

12.) Dwrcan

WK35 - Memory Tapes- Seek Magic (9.5)

Released - 8/25/09

Label - HSR

BLURB - With only 3 more records to go on the year, I’m opting for some titles that I have definitively never heard of. Enter Memory Tapes. Lucky for me, this was right up my alley. This disc is filled with spacey electronic, yet occasionally funky grooves. There is a nice amount of haziness and subtle, introspective appeal to this album. I didn’t know if I liked it until I really sat down and listened to it. And I do. There is a well balanced combination of instrumentation and electronica that weaves in and out of this 1970’s lo-fidelity vibe. Granted the songs are not pop, and are generally downbeat, but there is an understated, experimental and honest charm to them. Think of a more electronic and less folksy version of MGMT that got mixed in a batch of Thievery Corporation. Not bad, eh?

Rating - 9.5 out of 10

FULL STORY - So I heard about Memory Tapes via Pitchfork's Top 50 Albums of 2009. I really didn't read the review too thoroughly, but since I often butt heads with Pitchfork (they gave Phrazes for the Young a 5.5 out of 10!) - I figured I'd see if I agreed with their ranking of 23rd for Memory Tape's 'Seek Magic,' and ironically, I do.

The second track, 'Bicycle' is Memory Tapes' so called attempt at the 'radio single.' For some reason this is how I wanted and expected Passion Pit to sound. There is a flurry of musical events going on, yet everything sounds relaxed and refined. Very confident. I've never felt that Passion Pit ever really bought into their sound...and I still don't. But that's neither here nor there. After lulling the listener to sleep for the first 6o seconds of cautious singing, percussion and sound effects, the song holds steady for a brief period, only to then be inundated with an intoxicatingly heavy bass riff and an arsenal of effects and background vocals. The song continues to vary in momentum and pace for its' duration, with everything ultimately coming together in an outstandingly crafted ending. Vocal chants mixed with repetitive guitar riffs prove to be a nice combination here.

Easily the funkiest track on the album is 'Stop Talking.' An electronically groovy bass line lays the bedrock for this track as typical 'too cool for school' shoegazer vocals are carelessly submitted. Cue wah wah pedals? Somehow the answer here is yes. As battling guitars and wah wah effects push their way to the forefront, we're hit with another fuzzy bass line and also a wave of synth. Clocking in at 7:02, the length may push some people away. Not me though. With my background admittedly being in jam and electronic music, I really appreciate and admire when an artist can throw together a song, and just see where it takes him. The majority of 'Stop Talking' is fairly consistent, but Memory Tapes very subtlety alters what's being pumped out of the speakers. It may take a few listens, but this track will leave you hearing new sounds and grooves with each successive listen.

'Graphics' (#6 song of 2009) is likely the most electronic-based song on the record. The intro and verse are kind of out there and don't really flow, but maybe this was done for a particular reason? After a bit of stumbling we find the best use of a chorus on the album, bearing much needed depth and weight in the lo-fi electronic realm that Memory Tapes creates. As you continue listening to this track you can hear the song evolve with each passing second. After that amazing chorus, there is an equally satisfying musical bridge that continues contorting sounds and vocals with synthesizers and computer effects. The song never reverts back to the original clumsy introduction and verse and grows organically into a monster of sound. While this track may not be Memory Tape's most popular, it certainly showcases their talent and musical fortitude.

I think this record is amazing. Here's my theory though...it's a little bit too out there for the legions of fans that claim to like the Passion Pits and MGMT's of the world. Memory Tapes may be a little too indie for all those out there that say they like indie. They have a little bit of MGMT in them, but have no tracks remotely close to sounding like 'Electric Feel.' Likewise, they have a little Passion Pit in them, but Memory Tapes does not force a 'Little Secrets' on their audience. This isn't a bad thing, I'd actually argue it's a great thing. Memory Tapes has such a great fusion of sound and experimentation going on, it's really hard for me not to get sucked in. The album has a very organic feel to it as well. Call it lo-fi, call it whatever. Regardless, 'Seek Magic' is a great release and one I'm happy to have found it. Wouldn't mind getting more than 8 songs though...

Tracks

1.) Swimming Field

2.) Bicycle

3.) Green Knight

4.) Pink Stones

5.) Stop Talking

6.) Graphics

7.) Plain Material

8.) Run Out

WK34 - Neon Indian - Psychic Chasms (10)

Released - 10/13/09

Label - Lefse Records

BLURB - Of all the albums I’ve reviewed on this blog, ‘Psychic Chasms’ will be the best of the year. This is for sure. Pretty easy decision too. Had it not been for Animal Collective releasing ‘Merriweather Post Pavilion,’ this would be my overall number one record of the year. Neon Indian is a one man wrecking crew, endlessly bludgeoning all of us with lo-fi synth pop in the most nostalgic of fashions. How so? Well, every song sounds like Wham’s rendition of ‘Last Christmas.’ But underneath all of these warm and fuzzy musical layers are themes that truly suggest he is anything but warm and fuzzy. Neon Indian offers up both introspective and highly interpretive lyrics that have a darker, thought provoking feel, leaving everyone in it's wake unable to stop listening. It’s simply that good

Rating - 10 out of 10

FULL STORY - Being the big music geek I am, I spend far too much time on iTunes looking at what people, who have bought albums that I bought, are buying. Follow? This led me to Neon Indian’s ‘Psychic Chasms.’ Essentially I use iTunes like it is one gigantic, widely traded mix tape. I brought it into work and sent it around to a few friends, whom either instantly loved it or hated it. A lot of the music I listen to has that quality. Long story short, this album ends up being one of the major discussion points at my company holiday party...well, that and Jersey Shore. Turns out I’m not the only person digging the indian and I end up scoring a couple tickets to see him at Mercury Lounge the next week. Sweet.

There’s something about seeing a brand new up and coming act live, whom you’ve just started following. You’re kind of unsure what you’re going to get and that show ends up being crucial. It’s the make or break point. It’s where you either decide to buy in, or move on. Neon Indian at the Mercury Lounge was one of those shows that makes you go all in. Everything from the energy to the emotion and sincerity of his performance was as addictive as I would guess meth is? Maybe more.

I think Neon Indian really appeals to me on a more personal level than other albums I’ve heard this year. For starters, I’ve really gone off the deep end as far these low fidelity, ambient-indie acts. There’s just something creative and different about it that I can’t get enough of. The whole Animal Collective, Panda Bear, Atlas Sound, Oberhofer scene...that’s my scene. What also draws me into these acts is the overwhelming homemade quality their sound has. The majority of these groups are just one person, or a small collection of very close friends. You can really get the sense of unbridled unity, motivation and friendship - pouring out of every track. There is a combination of seriousness, excitement and passion that is just more tangible and real than the majority of music that is out there. It’s also nice to use these artists as a measuring stick of sorts to myself, because I know all of these albums are being made in someone’s basement or apartment. This whole genre is filled with people like me, that listen to the same music, read about the same music and create, to some extent, the same music. Kind of like I’m indirectly friends with all of them. This common thread and affinity for music makes it extremely easy to root for them. Makes me pretty jealous too.

This is the part where I review the album and tell you what I liked about it. I break down the songs and encourage you to have your own go-round and decide for yourself. The only thing is, I’m at a loss of words. For those that know me, you might think this impossible. I can talk everybody’s ears off about music and I enjoy doing it. Get a couple drinks in me, and you won’t be able to get rid of me. It’s bad. But with ‘Psychic Chasms,’ I feel it’s so transcendent and unique that no line of contrived dialogue I put out will be able to explain exactly what this record sounds like or means to me. I’ve had several failed paragraphs already. In looking for some motivation I blindly perused some reviews and stumbled upon one that I could only wish that I had written. It nails every description and comparison I’ve been trying to force out of my brain. I am by no way making any claims to the authorship of the article, but I would like to recognize the source, as he did a stellar job. So please check out Citizen Dick (citizendick.org) for more great work. Here are my thoughts, brilliantly transcribed by a person named ‘Kevin.’

“I may be a bit obsessive-compulsive, but I have to believe people digest albums like I do. I tend to become a fanboy immediately with albums that jolt me from the starting gun, relentlessly focusing on three tracks that grab my attention first. Next, I eventually grow tired of the three standout tracks and move onto another section of three songs that I originally thought mundane and less noteworthy. Usually this results in a battle of sorts. I love those original tracks that drew me to the band’s sound, but inevitably wind up pushing them backwards in the playing rotation. Inexplicably, however, there always seems to be three tracks on every album that fail to make it into my pleasure-filled musical database. Try hard I may, but it’s an extremely rare occasion that an entire record is not just enjoyable to me from top to bottom, but noteworthy. Neon Indian’s Psychic Chasms is a debut that took a little time to wrap my brain around fully, but the fruits of ear-labor have never failed me yet. It’s an album rich with energy and a hard to pinpoint coolness that’s achieved through a varietal and shifting blitz of sound. Not a track is worthless, and in fact, if you listen to records like I do, the progression will leave no slag and the enjoyment tightens with each subsequent listen.

In my review of Deastro’s Moondagger earlier this year, much of the review focused on the reminiscent aura that certain electronically based outfits have been dishing out recently. For a self-professed alt-folk fanatic, it’s a pretty awkward admission that Alan Palomo (Neon Indian) creates the kind of music that knocks me straight out my LA Gear’s and into a completely fulfilling nostalgic mode. The central conundrum regarding electro-throwback music is that I have literally no way to merely describe a deeply rooted vibe. Typically, reviewing albums involves at least some shred of musical understanding. Although Psychic Chasms takes me far, far away from my comfort zone, I can’t stop playing it. The initial run through begins slamming “(AM)” at the listener, starting with a cylindrical synthesizer screechy sound that melts into the background as a nasty badass 80’s bouncy rhythm kicks in. Softly delivered vocals juxtapose the hard hitting grooves and busybody Danelectro attack. It’s this album opener that reeks of quirky mid 1980’s summers at the roller rink, super-rope licorices and, believe it or not, mid-period Prince material. Slick guitars and pinched out and looping sounds are splattered through each track. The retro hooks are encapsulated by spookily morphed and slowed down synth riffs that warble alongside nearly every song.

Perhaps it’s a trite over-generalization to assume Neon Indian is swinging for nostalgic fences here, as Palomo is extremely adept at spiraling sound mixtures. At times, the stacks of dominant sounds all layered on top of one another are quite brilliant. The midway arc of three songs, “Mind, Drips,” “Psychic Chasms,” and “Local Joke” point to wider and expansive takes on pop predecessors. At the heart of all three is a simplistic drum machine, aptly keeping time while each track spins and rises in sound-intensity. It’s easy enough to peg this as an album with repeat value for ambiance alone, but deeper listens unveil ripping keyboard arrangements, frenetic blips and flurries of wavering riffs. “Ephemeral Artery” links up a straining synthesizer behind everything, and like a car in an automated washer, it’s difficult to tell whether the songs moving forward or I’m moving in reverse. Super intriguing.

For me, however, what nails this album down is it’s drenching mid 80’s aura. “(If I Knew, I’d Tell You)” is forty-eight seconds of fuzzy and shaky brilliance that hearkens back to the most memorable early 80’s porn. If that’s a weak observation, our readership will have to accept my apologies, because my mind wanders constantly to those awkward instances of my youth, poorly dubbed Ginger Lynn fully included. To summate the value of this album, it’s important to first enter with a specific direction in mind. Like a choose-your-own-adventure book, this record consistently pulses from start to finish, and depending on listener preference, it can dive into nostalgia or enrich in a modern sense equally as well.”

Tracks

1.) (AM)

2.) Deadbeat Summer

3.) Laughing Gas

4.) (If I Knew, I'd Tell You)

5.) Terminally Chill

6.) 6669 (I Don't Know If I Know You)

7.) Should Have Taken Acid With You

8.) Mind, Drips

9.) Psychic Chasms

10.) Local Joke

11.) 7000 (Reprise)

12.) Ephemeral Artery

WK25 - Green Tea - Places + Spaces (8)

Released - 8/11/09

Label - Plug

BLURB - It's amazing what one man can accomplish nowadays. Green Tea spoils his listeners with a parade of timeless grooves traversing the last three decades of music, while somehow remaining new. The DJ combines rich bass lines with strings, synth, guitars, keyboards and even a fair amount of flute play. Quite the pairing risk, but it comes off sincere and unforced. The entire album is extremely danceable, in a very laid back fashion. The only flaw is that portions can become monotonous as Green Tea's distinct feel and vibe clearly resonates throughout the entire record. Nonetheless, a great debut.

RATING - 8 out of 10

FULL STORY - R&B, electronic, disco, rock, pop and hip hop laced tones can be found in nearly each of the album's 13 tracks. Despite the fact that this formula works brilliantly, Green Tea's musical fulcrum never really bends too far. Cautious and predictable would be two adjectives one could use to describe, "Places + Spaces." Each song appears to be have been baked on the same cookie sheet, with many tracks sounding similar. But before you jump to any conclusions, let me unequivocally state that this is not a bad thing. Here's why. With DJ's, so many times the emphasis gets put on having this killer "beat." "Oh man, that beat's hot," or "did you hear that crazy beat" are often phrases the less informed used to describe songs, myself included. While having a great beat is certainly a positive and can really help drive a song, it does not alone make the song - or at least it shouldn't. It's like making a salad with only lettuce.

What Green Tea does well on this album is establish some kind of beat or groove, that while it does serve as the foundation, it is not limited to one function and gets subtly de- and re-emphasized. Green Tea accomplishes this by shifting the audiences attention to and from the beat with an infinite amount of hooks, leads and riffs. Whether it is a high synth lead, a distorted guitar, or an all together silence leaving only the rhythm of the snare hits, there is always substantive factors contributing and improving upon the beat. The use and manipulation of motifs is also something that is undervalued in music today. Green Tea admirably creates, reverses, speeds up and twists motifs, forming a satiable experience for his audience to soak up.

The other facet of this album I really enjoyed is how much it feels like a live band. "Places + Spaces" sounds unmistakably similar to Lotus's, "Nomad" one of my favorite albums of all time. Lotus is more or less a perfect fusion of rock, jazz, r&b and electronic rolled up into a jam band that is not afraid to experiment. So for a DJ to be compared to them is certainly high praise. Fans of Elliot Lipp, Lotus, Pnuma Trio and STS9 will likely become fans of this relaxing collection of electronic tracks.

Two cuts on this record feature performances by another Plug Label artist, Kero One. This emcee fits Green Tea's vibe brilliantly. His verses and phrasing are very hook friendly and can get stuck in your head instantly. This is also helped by the duo's intrinsic simplicity, as they never try to do too much and avoid flooding tracks with unneeded rhymes or cluttered sounds. 'Future Classic and 'Yes Party People' feature Kero One and are great examples of how well each accents the other.

Some of the other signature instrumental tracks on this record include 'Jazzy Joint,' 'Thinking of a Master Plan' and 'Words Left Unspoken.' If your looking for some music to kick back and relax to, these are definitely a couple must-haves. Portions may become repetitive and redundant, but everyone has a learning curve and this will remain a great starting point for Green Tea

Tracks

1.) Something Like This

2.) Maximum Joy

3.) Dew Drops in the Garden

4.) Cruise Control

5.) Jazzy Joint

6.) Future Classic

7.) Words Left Unspoken

8.) Porto Seguro

9.) Thinking of a Master Plan

10.) Yes Party People

11.) Eclectic Relaxation

12.) The Waiting Game

13.) Cruise Control 2.0

WK11 - Passion Pit - Manners (9.5)

Released - 6/9/09

Label - French Kiss Records / Sony Music Entertainment

BLURB - To agree with another noteworthy review, this record is, ‘dance music for people who hate dance music.’ I couldn’t put it any better. Several weeks ago I heard one of their songs when the record was initially released, and didn’t particularly enjoy it, and thus instantly formed an opinion that Passion Pit was not for me, despite the album’s sparkling reviews. Second chances are a great thing. Passion Pit’s, ‘Manners’ will definitely be one of the best releases of the year. Their pop-infused charm and airy melodies provide the buoyancy needed to counter a bevy of keyboards and synthesizers that are present at every turn on this record. Amazing.

Rating - 9.5 out of 10

FULL STORY - OK...out with the MGMT comparisons already. MGMT is in a league of their own, untouchable if you will. Passion Pit does follow the leader closely on ‘Manners’ but they do so in their own, unique way. For starters this record is much more pop than ‘Oracular Spectacular.’ There is a certain attractiveness and grace present, and each track bubbles with an air of confidence and charm. Virtually every song is filled with loops, synth, keyboard, vibraphones and any other instrument that has buttons to press or keys to stroke. This onslaught of keyboards, however, is done in great taste and moderation. One can feel that each song wrote itself, innately knowing what to play, and more importantly, what not to play. There is no wasted effort here. There is no ‘trying too hard.’

What drew me in to ‘Manners’ were two songs. ‘Little Secrets’ and ‘The Reeling’ are quite possibly two of the best non-traditional pop songs I’ve ever heard. The opening keyboard riff to ‘Little Secrets’ is intoxicatingly good. It rivals vodka. The chorus also features a choir of school children singing, ‘higher and higher, higher and higher’ which I found ironic pleasure in. The accompanying drum beat is a slow, minimalist, somewhat dancehall groove. Throughout this song are cool synth fills and a veritable factory of sounds. The dangerously high vocals are never unbearable and always interesting. It really is a shame that, outside of college radio, this will never make it out to the masses.

‘The Reeling’ is almost the complete opposite of ‘Little Secrets.’ The pace is much more frenetic and the mood of the song seems to be aimed more at fear and anxiety. I feel like I’m running from the cops when I listen to ‘The Reeling.’ The synth and loops feel very pressuring and tense. There is great uncertainty here, but it’s accepting as if there was an impending armageddon. The lyrics fit the atmosphere brilliantly:

‘And all at once I feel this / Oh how it clings to me / It reels me and calls me towards it / confounding destiny / And I can feel the magnets pinch my hands / The more I run the more I am convinced...”

Passion Pit also brings back the choir of children for the chorus of 'The Reeling,' as they shout ‘Oh no!’ at just the perfect times.

Topping the list of other favorites is ‘Sleepyhead,’ - a dreamy production filled with chimes and vibraphones, and a synth line that rips through the song's simplistic core. ‘Folds in Your Hands’ is equally great and well constructed. This song has a real ‘start and stop’ feel to it without ever stopping or starting. The instrumentation is constantly changing through the verses, creating a sonic wall of sound that never takes one particular shape.

Much of the rest of this record includes variations and differing perspectives on these takes without becoming monotonous, with a few tracks featuring a noticeably slower pace. Diversity is the key here, with each downtempo track complimenting an uptempo track, and vice versa. This is no simple feat. With a sound such as Passion Pit, it’s hard to recreate their style and feel, so many different ways. That would likely be my only critique, they do seem slightly limited as to what they can create and accomplish, despite their limitless talent. This being said, I really have no room to second guess Passion Pit for a second time. I’m quite confident that I would be made a fool...again.

Tracks

1.) Make Light

2.) Little Secrets

3.) Moth's Wings

4.) The Reeling

5.) Eyes as Candles

6.) Swimming in the Flood

7.) Folds in Your Hands

8.) To Kingdom Come

9.) Sleepyhead

10.) Let Your Love Grow Tall

11.) Seaweed Song

WK 10 - Sound Tribe Sector 9 - NYE.ATL.08 (Live) (9)

Released - 5/26/09

Label - 1320 Records

BLURB - It’s extremely difficult to find any major faults with STS9’s release of their 2008 New Year’s Eve show in Atlanta. Spacey jams, dance hall beats, samples, jazz pianos, creative guitar riffs and synth galore flood this concert from all directions. What more could you want?

Rating - 9 out of 10

FULL STORY - Sound Tribe Sector 9 quietly, and quickly, came into prominence over the last decade, developing quite a troop of devoted fans along the way. They have a certain ‘grassroots’ feel to their sound. They are unique and they’ve cleverly found a way to weld together a wide range of genres and influences. One can easily find shots of rock, jazz, ambient, jam, funk, hip-hop and house music in any track without really even looking for them. Some would call it organized chaos. This fusion of sounds and the band’s determination to keep re-evaluating and evolving their techniques is prevalent in their live shows. STS9 is known for archiving their shows and often times taking a particular piece of a song that they’ve played, and re-working it as a sample, to be used in an upcoming concert, showcasing their endless creativity. Despite having several studio records, the band is and will forever be known for their amazing live show. This release shows us why.

The set starts off in the most appropriate of fashion. ‘F-Word’ and ‘Be Nice’ establish a formidable opening duo. Each song has a ‘countdown’ feel, particularly ‘Be Nice.’ If I was ever to be in a rocket ship getting ready to be launched into space, I would want to here ‘Be Nice’ just before liftoff. The energy and tension found in these two songs is very tangible. ‘F-Word’ and ‘Be Nice’ really set the table for this show. From here, the band dives into ‘STS9,’ a number that starts out slow, works it’s way to higher intensity through some uptempo, yet minimalistic guitar and synth work, resolving to a calm outro. The song segues into, ‘Biggs’ which is a huge crowd pleaser. The song opens up with a sample shouting, ‘Everybody in the fucking house...1...2...3...’ For the most part, this song is simply a slow drum beat laced with some eerie sound effects and a jabbing series of digital horns that slap at the back beat, high-fiving the crowd each time.

Up next comes ‘Metameme’ which is done at a considerably slower pace. The eeriness from ‘Biggs’ continues here, as some futuristic computer effects are thrown at the audience. The song does wander a bit, as every good jam song should. At certain points in the track it sounds as if ‘Metameme’ is a breathing organism, looking for something. It eventually finds a resting place in ‘Jabez’ where soft piano hints of jazz weaves its way through a looped vibraphone line. The tune varies in pace and is greeted with some low register synth lines about halfway through. ‘Jabez’ continues it’s search for what ‘Metameme’ was looking for, and discovers it in the next song, ‘Moonsocket.’

With effects creating an environment ripe for an alien takeover, STS9 busts out ‘Moonsocket.’ The song slowly and powerfully builds up steam, adding instruments and sounds when necessary and then explodes over the loudspeakers just before the four minute mark. All that really happens is a simple guitar riff, but it is the one consistent that holds the track together. Behind the repetitive guitar notes is what appears to be a jazz organ on acid and some funky slap bass lines. The guitar motif is cleverly arranged to vary frontwards, backwards, sideways and then back to their original setup. Once this groove is exhausted, the band plateaus for a brief period of time, switching keys and tempos, pushing forward through an ascending power struggle of guitar and piano. Then it’s right back into the pre-established motif, with an entirely different, yet equally great, background arrangement. STS9 are masters of knowing how to accomplish the same feat in a multitude of fashions.

After being taken on the ‘Moonsocket’ journey, the audience now finds themselves lost in a deep sea of space and air, that being, ‘Looking Back on Earth.’ Call it a ‘break in action’ if you will but it serves the purpose of readying the crowd for certain perfection in ‘Kamuy.’ Filled with dancehall beats and synthesizers, ‘Kamuy’ is everything it should be. My only gripe with this version is that it features the obligatory drum solo, that may or may not still be going on. Up next are ‘Empires’ and ‘New Soma.’ The concert could have done without these two tracks as they are nothing to write home about. ‘Empires’ gets a little funky towards the end, but both tunes are weighed down by some very heavy, industrial synth.

The suite of ‘Evasive Maneuvers Pt. 1 > Surreality > Evasive Maneuvers Pt. 2’ is well done but comes off as a tease. ‘Evasive Maneuvers’ is pretty much ‘Kamuy’ sped up and without the guitar motif. ‘Surreality’ offer some light and airy variations during its segue way, but Pt. 2 finds a way to resolve back on to some fast paced grooves. ‘EHM’ pits an 11:32 battle of polar opposites with dark, menacing synth prevailing in the end. Confusion and tension are filled in ‘EHM’ and forms a nice little battle for the audience to witness. Next is ‘Lo Swaga,’ which remarkably comes off as unpolished and very coarse. Of the countless versions of this song I’ve heard, it’s always been spot on. For whatever reason, ‘Lo Swaga’ is peppered with several botched notes in it’s introduction. After the rust wears off, the song peaks as the band does some handy work balancing improvisation and it’s central riff.

‘Music, Us’ finishes off the show, and in a proper farewell. The song dabbles with a ‘Love is All We’ll Ever Need,’ sample and features piano as the main instrument of choice helping to accomplish a sincere yet relaxing jam. ‘Music, Us’ does venture off to a couple places, but never strays to far away from a relaxed, electronic, jazzy, sample-ridden groove. I imagine this song being played on repeat in a modern coffee house in Amsterdam.

The point to drive home with STS9 is that the sum of their parts is always better than one singular song. Their songs are made better by the way in which they are surrounded at their show. It’s never about hearing the ‘hit’ or the ‘single.’ There are none. On a more personal note, two of my favorite STS9 tracks, 'Aimlessly' and 'Instantly' are nowhere to be found, yet this show still oozes with greatness. Sound Tribe's shows are ultimately not about the band or their songs, it's about creating an experience, and Atlanta was certainly treated to a memorable one. While I can hear what occurred through this second hand release, I can only imagine what it would have been like to be at the party. The drugs had to have been flowing.

Tracks

1.) F-Word

2.) Be Nice

3.) STS9

4.) Biggs

5.) Metameme

6.) Jabez

7.) Moonsocket

8.) Looking Back on Earth

9.) Kamuy

10.) Empires

11.) New Soma

12.) Evasive Maneuvers, Pt. 1

13.) Surreality

14.) Evasive Maneuvers, Pt. 2

15.) EHM

16.) Lo Swaga

17.) Music, Us

WK8 - Black Eyed Peas - The E.N.D. (7.5)

Released - 6/9/09

Label - Interscope Records

BLURB - Wow. This is not the Black Eyed Peas, this is, 'The Will.I.Am Experience.' Will was not lying when he said this record was going to be heavily influenced by the european electronic trance culture. While visiting Cherry Lane several months ago, Will referenced his fanaticism for the Crookers (if you haven't heard of them, go buy everything they've put out) and submitted that the new BEP record would be heavily influenced by that sound. This is more or lease a 'pop / rave / electronic' type-feel. There are some massive club bangers on this album, along with some great samples. The beats and the production are out of this world on more than a handful of tracks. However, there are also several songs on here, that for no reason, made the final cut. This is poppin' but, there may be a little too much cheese for the populous to handle.

RATING - 7.5 out of 10

FULL STORY - The premise and name of this record is, 'The Energy Never Dies.' Will Adams and the rest of the 'Peas have been notedly outspoken about the decline of the record industry. There are no longer albums...it is more or less a pick and choose culture, and that is the mentality around this record. 'The E.N.D.' is meant to be an album that is constantly changing. Whether it be additional releases, blogging, pictures, videos, etc., the album is intended to be open-ended and not your traditional album. It's an interesting premise, but for those involved in the industry, and until further notice, this is still just an album.

As I referenced earlier, this is clearly Will's baby. After a long career with the Black Eyed Peas, Will emerged as one of the premier producers and songwriter's in the industry. With a resume that includes penning hits for Common, Justin Timberlake, Talib Kweli, NAS, John Legend, Flo Rida, Nicole Scherzinger (Pussycat Dolls) and countless others, Adams is clearly his own entity. Will has even scored portions of 'Shrek 3' and was a vocal political activist, campaigning for Barack Obama's presidency. By the way, he also released his own (much underrated) record, 'Songs About Girls' in 2008. So it shouldn't come as a surprise that he took charge and direction for 'The E.N.D.'

'Boom Boom Pow,' Billboards #1 Top 100 (for what seems like months) opens the album, and deservingly so. The track is multi-toned with two clearly different grooves going on. There is the verse and the chorus which, while great, can get a bit redundant. But BEP does a great job in varying energy with a tremendous 'B' section (See Also: 'Will.I.Am Drop the Beat Now!). Apl.De.Ap has an 'average' verse, but this is clearly a Will / Fergie number. The second single, 'Imma Be' is also another two section track...and another Will / Fergie number. In my opinion this single is a cut above 'Boom Boom Pow' but there is an extremely awkward transition between the 'A' and the 'B' section that really will prevent it from becoming popular on radio. It's a very unimaginative and just plain 'weird' segway between two great beats, that has Will basically talking over a string section. But there are some really great, contagious beats that will be huge in the clubs and guaranteed to make the crowd move.

Other smashes on this record include, 'Rock That Body,' 'Missing You,' 'Party All the Time,' and 'Rockin to the Beat.' So far, the clear cut joint of choice, for me at least, is 'Rock That Body.' The track features a sample of Rob Base and DJ E-Z Rock's, 'It Takes Two,' electronic voicing and a killer beat. All of the aforementioned are completely nailed. The tempo changes, beats, verses, chorus, production...everything. It's just right. The only complaint listeners will have is the lyrics, but that being said this is the Black Eyed Peas. This is the group that brought us the line, 'My humps, my humps, my lovely lady lumps.' I don't really expect too much lyrically, I've been long conditioned to just nod my head and disregard what is being said. Another interesting song of note is, 'Meet Me Halfway.' This song features Fergie handling the choruses, in what sounds like a tune from 1988. Minimalist keys and old school synth provide the backdrop for Fergie to belt out, 'Can you meet me halfway / right at the borderline...' The verses dabble between Apl.De.Ap and Adams, in what is as close to spoken word as one can get. The song does modernize fairly quickly as some 'talk-box' effects come in to play later on. Standard protocol in today's hip hop world.

And now for the cheese...namely, 'Ring-A-Ling.' I can't listen to this song...it's endlessly annoying. What's worse is that the song has an amazing beat, which is ruined by a chorus of, 'Ding-a-ling-a-ling-lings.' This is where BEP gets into a little bit of trouble. Including songs like this, compromise the fact that this is not meant to be your 'standard' album. Au contraire, my funky friends. Songs like this are your typical album filler fare. I can definitely see this song being pressured to make the record from the label from a marketing standpoint. It gets lodged in your head and would be perfect for an AT&T commercial. Also, 'Showdown' is a pretty regrettable song, but I can see it being used for pretty much any sporting event. Don't tell me that this is a european fused, ever-changing dance record, and then include two sales jingles.

The next two singles slated for release are, 'Alive' and 'I Gotta Feeling,' and while they are nice songs, they are nothing more. No really crazy beats or production values, but they will mesh well for TV / Film synchs and radio airplay. So while these are singles, to me, they still have that filler feeling. The tracks are nice, but nothing crazy, and at the end of the day they don't really impress me or warrant a second listen.

There are also two pop-culture 'call-to-arms' tracks that don't really mesh with the atmosphere established by the impressive club vibe that was created by, 'Boom Boom Pow' and 'Rockin to the Beat.' The songs, 'One Tribe' and 'Now Generation' have good intentions, but again they don't really go anywhere or cover anything that I'm not already aware of. I also feel that these tracks were stymied by the band themselves. Will did a great job releasing culturally aware tracks for the Democratic Convention and Obama's inevitable presidency, when they needed to be released. On the record, it's as if Adams was handcuffed and there was a conversation such as, 'Hey Will - those Obama tracks were great, we should do a couple for the record.' Again, while the intentions were good, the end result was not. 'Yes We Can' and 'It's a New Day' were so politically charged and released at the proper time, that they made the songs greater than what they should have been. Likewise, the fact that, 'One Tribe' and 'Now Generation' were released within this club-feel album, really detracts from any emotion or cause the 'Peas were trying to accomplish.

So all this being said, this is great record...but you may have to skip few a songs. Be on the look out for infinite remixes to some of these ditties. I'll be loving life the next time I'm out downtown, with drink in hand, and hear 'Rock That Body' pumping through the speakers.

Tracks

1.) Boom Boom Pow

2.) Rock That Body

3.) Meet Me Halfway

4.) Imma Be

5.) I Gotta Feeling

6.) Alive

7.) Missing You

8.) Ring-A-Ling

9.) Party All the Time

10.) Out of My Head

11.) Electric City

12.) Showdown

13.) Now Generation

14.) One Tribe

15.) Rockin to the Beat

WK2 - Eliott Lipp - Peace Love Weed 3D - (9.5)

Released - 1/27/09

Label - Old Tacoma Records

BLURB - Like a fine wine, Eliott Lipp is constantly getting better with age. The producer / DJ / electronic mastermind proved that, 'The Outside' was not a fluke and in doing so may have invalidated his previous releases. This one is hard to put down. Welcome to the elite.

Rating: 9.5 out of 10

FULL STORY - The story goes for musicians, that one will focus and listen to the music that they are currently involved with. Four months ago I purchased my first synthesizer, and predictably became obsessed with electronic music and experimenting with new sounds. Now I am no pro by any stretch of the imagination, but my experience with electronic music has really helped me appreciate and differentiate between outstanding and mediocre work. I bought Eliot Lipp's - 'The Outside' nearly 8 months ago for the sole reason of seeing he was opening up for the Pnuma Trio for a couple shows. I had never heard of him, but was obsessed with Pnuma Trio at the time. The Trio is one of these new 'Jamtronica' bands that have been quickly gaining notoriety through not only their recordings but their amazing live shows. This genre of music started growing as a part of the post-Phish era and is generally typified as a fusion of jazz, jam, house and electronic music.

My biggest (only) gripe with Lipp's previous release was that there was often too much space and down time in his work. The production value was amazing, but in attempt to strike a mood with the listener Lipp often was reluctant to show progress with certain tracks. The ability was there, but complacency may have snuck in rendering songs unable to push forward. 'Peace Love Weed 3D' not only corrects this flaw, but forces the listener to apologize for ever doubting his potential. Every track in this record not only has a great vibe, but goes somewhere. Lipp does a great job of initiating a solid groove and then slowly reworking it into a completely new groove, and into another. This creates the experience of a club scene where there is a great mix going on, and then all of sudden 4 minutes later there is an entirely different mix going on, but the transitions were so well organized that you had never noticed the change in tempo or beat.

The greatest compliment I can give for an electronic artist is recognizing the ability to string a listener along without having them lose interest. Often times beats and grooves and jams can become monotonous, and while they are addictive at first listen, after 5 minutes if nothings happened I'm going to move on. That's my knock on techno music. Every techno song is unbelievable for the first 3 minutes, but after that I'd rather be folding laundry or grocery shopping. Lipp has a very subtle way of conveying mood and voicing through precise organization, and while this seems like a complex way of forming a song, it always seems effortless. He never has to convince the listener - the momentum and talent appears instantaneously and continuously.

Segueing off of the above, I love analogies. In life the talented, well-groomed, attractive man never has to convince the attractive woman to go out for dinner. He just has to ask. For the rest of us, we often spend our time tirelessly trying to convince the attractive woman that we are worth it, and that they should go out with us. We make bold claims and offer brief glimpses of excellence, but the act of persuasion never ceases to exist. Compare this to the majority of electronic and 'Jamtronica' artists. In such a fast rising genre there are too many artists to go around - and throughout this crowd the overwhelming majority are simply presenting their case in attempt to convince us that their efforts are worthy of their own self-acclaim. While these arguments are valid for some artists, they are often just hype and hearsay. With Eliott Lipp's - 'Peace Love Weed 3D' it is clear that he is not trying to convince anyone. Lipp has joined the ranks of Sound Tribe Sector Nine, Pnuma Trio and Lotus. From this point forward all he has to do is ask, and the inevitable answer will invariably be 'yes.'

Tracks:

1.) Yeah

2.) Proceed

3.) Sentinel

4.) P.L.W.3-D

5.) So Stoked

6.) Calling Me

7.) Glowstick

8.) Sand Castle

9.) Laser Cave

10.) Beamrider