WK5 - Beach House - Teen Dream (8)

Released - 1/26/10

Label - Sub Pop Records

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

Rating - 8 out of 10

FULL STORY - As a New Yorker, by law, I frequent Pitchfork more than the average person. A lot of times Pitchfork is way too cool to post positive music reviews. They tend to have their noses in the air when it comes to trending indie music, and rightly so, but every now and then they'll throw out a rating of 9 or higher (out of 10) to see if we're paying attention. Of recent memory, they handed Animal Collective's 'Merriweather Post Pavilion' a big juicy 9.6 last year. But needless to be said, Pitchfork is very, very critical of the music they listen to and review. Beach House's 'Teen Dream' garnered a 9. That's fairly impressive in it's own right. You have to realize though, Pitchfork's 9 is something to be admired or reveled, the type of record that comes around once maybe every five years or so. 'Teen Dream' is good...but it's not that good.

I won't lie, I have been anticipating this album for quite some time. I researched Beach House with great fervor last year while I was in my 'Grizzly Bear' phase. I even stood in line for three hours to see them co-headline a free show in Williamsburg, only to be turned away after capacity was met. I was ok with that, but somehow Jay-Z and Beyonce got in, and I know they didn't stand in that line. That's another story for another day.

Without wasting any more time, I'll just say that 'Norway' is the best song on the album. This track's been around for a while and was even featured on iTunes as their weekly free download about a couple of months back. Given the fact that people love free things, it got a ton of downloads by some not-so-intelligent music fans and subsequently a ton of terrible reviews. I just looked back again at some of them and could only laugh at the comments. One particular review by a girl who's user name was "Ilikealltypesofmusic" said she was frustrated by how the instruments they were using sounded broken...

What she is referring to is this wobbly organ tone that is matched with a palette of stretched out and elastic sounding guitar notes that bend in all kinds of directions, which actually makes the entire track sparkle with character and mood. To me this is the selling point. With an extremely polished and bright chorus waiting in the wings, the verse pulls the listener in and prods their ears with an array of tones, colors, moods and haze that are outside of your average person's definition of normal. This uniqueness and ingenuity kind of inadvertently keeps the listener hanging on with each musical strand that floats by. When the chorus hits, everything seems to lock in together, creating a euphoric chant about the westernmost portion of the Scandinavian Peninsula...and somehow it's cool. 'Norway' also has this really amazing, understated psychedelic charm to it that is almost dizzying. Every time I listen to this song I always somehow become disoriented and feel like I'm drunk or about to fall over. Everything about the texture and feel of this song, and how the chorus plays off the verse...it just works.

The third track on 'Teen Dream' goes a little dark for the dreamy duo. While the music itself on 'Walk in the Park' consists of pulsing organs and a lower, seemingly uninterested guitar riff, the lyrics focus in on the loss of a good friend:

"The face that you saw in the door isn't looking at you anymore. The name that you call in it's place isn't waiting for your embrace. The word that you learned to behold cannot hold you anymore. In a matter of time, it would slip from my mind. In and out of my life, you would slip from my mind. In a matter of time..."

The lyrics and swirling combinations of keyboards and guitars are filled with raw emotion making it very easy to get lost in. I think it's a fair point to say that this is really the calling card of Beach House's music.

'Used to Be' is one of the stars of the record and is filled with classic piano and vocal melodies. Accompanying this couple, is a steadily building percussion section which pushes the song along nicely. With a beat that starts off as just a kick drum, 'Used to Be' patiently works in an entire snare brush kit transforming the song into more of an uptempo rhythm, which is something that certainly Beach House is not known for. But don't worry, they slow it back down for a beautiful and dramatic ending. The whole song seems to transverse the life of a balloon. Slowly the melodies and rhythm begin filling up space and expanding, yet never being too forceful or straining. Then for the majority of the song everything seems to be fully formed and working together in unison. The vocals play off the piano, while the snare and cymbal hits lift everything into the proper musical stratosphere. After this scenario has been exhausted, we slowly and peacefully fall back to the ground and finally come to rest as Victoria Legrand's voice more or less sings us to sleep.

The sixth track, 'Lover of Mine' is another somewhat 'newer' sounding Beach House song in that it's again slightly uptempo. Bright guitar riffs highlight and illuminate Legrand's vocals when necessary, brilliantly accenting her tone and pitch. This is another thing that is truly great about Beach House...there are very few acts that can play off each other as well as Victoria Legrand and Alex Scally. There are points where Legrand's vocals really seem like an extension of Scally's guitar. Then there are other times when it feels like the guitar or piano is singing in Legrand's voice. This constant matching, accenting and fusing of sounds and vocals transforms each of their songs into these dreamy homogenous pop creations.

'Teen Dream' is easy to get lost in. It's easy to press play, let it run, and soak it in. Throughout all of the haze and ambience, pop motifs continuously surface, evoking moods in the sincerest and rawest of forms. I do, however, think there is a large glaring hole in the record with 'Norway,' - it's that good. It's almost too good for the album. 'Teen Dream' is one of those albums that you can genuinely put on and not have to worry about skipping ahead, for the most part all ten tracks piece together nicely. If you walk into the room and hear this album playing, it's damn near impossible to figure out if someone just pressed play or if it's already eight songs deep. I'm still trying to figure out if this is good or bad. And ultimately that's what I really think detracts from this Beach House disc, but don't get me wrong...it's still amazing. But with the truly great albums, any one song can arguably be the best on the record. I can't make that case with 'Teen Dream.' So while this album is definitely one of the best of 2010, it's not the best. For the foreseeable future I'll always think of 'Teen Dream' as the Beach House record that has Norway on it.

Tracks

1.) Zebra

2.) Silver Soul

3.) Norway

4.) Walk in the Park

5.) Used to Be

6.) Lover of Mine

7.) Better Times

8.) 10 Mile Stereo

9.) Real Love

10.) Take Care

WK4 - Surfer Blood - Astro Coast (9)

Released - 1/19/09

Label - Kanine Records

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

Rating - 9 out of 10

FULL STORY - Much of Surfer Blood's buzz was generated with their breakout single 'Swim (To Reach the End).' Pitchfork went so far as to label the track as the 37th best song of 2009. 'Swim' comes out of the gates swinging, fully trying to burst your ear drums. And don't be fooled...they succeed. But it's not all yelling and amplification - underneath the layers of distortion are simplistic chord progressions and a chorus that is impossible to get out of your head. Halfway through, the heaviness of the power chords is balanced by a bridge of slower, danceable guitar riffs set to some Vampire Weekend-esque percussion. It's back to business after this, as the distortion resurfaces and the resulting chorus hits you like a ton of bricks.

Another sure fire hit is 'Twin Peaks,' filled with varied riffs and progressions. The introduction and verse has an indefinably 'big' quality to it. By this I mean, it just feels like one of those songs that's meant to be played in an arena. It's bright, it's catchy and it's heavy - it really reminds me of a younger, more rock-influenced version of The Shins. The song boasts three clear lines of demarcation. First there is this arena-style, huge pop chord progression, which is immediately followed by an uptempo riff that breaks out into an impromptu dance-off. Then...immediately following that, is a chaotic bridge of screaming and chromatic changes between the chords which just shouts 1980's punk. Essentially on 'Twin Peaks,' Surfer Blood somehow finds a way to fuse arena rock with afro-pop and punk.

The funkiest song on the album is without a doubt, 'Take It Easy.' This is Vampire Weekend if they were a garage band. Catchy riffs, creative percussion variations and even some string sections propel this song in one direction...forward. This is one of a few songs on 'Astro Coast' that has that 'laid-back-grungey-surfer-vibe' going on. Another song that falls into this sub-genre is 'Neighbour Riffs.' It's an instrumental that really reminds me of a modern day 'Wipeout.' Bright guitar hooks, waves of ambient noise and a solid bass line provide the soundtrack that is needed for a day of surfing in So Cal.

With all of these great songs on the record it's fairly easy to gaze past the album's opener 'Floating Vibes.' Likely the most Weezerish track on the album, 'Floating Vibes' is filled with understated melodies and dizzying reverb. Amidst it's grunginess, is a pop/rock diamond that shines with hit potential. The lyrics are congruent with the youngsters that they are, focusing in on relationships, confusion and apathy:

"Forget the second coming, I need you in the here and now. Instead of dreaming up a way to spread your name across the world somehow. When you told me you were leaving I wasn't thirsty for revenge. No, I wasn't disappointed much at all because you'll be back again."

What is lacking on this record is the maturity to develop segways and transitions within their songs. It seems Surfer Blood invariably approaches every song on the record with the same mentality. First we're going to play this riff, then we're going to play that riff, then we're going to play a different riff, then we're going to go back to that first riff. And while it's fun, and energetic and loud - it begs the question...is that all they have?

That being said, somehow Surfer Blood manages to disguise their weaknesses through their energy and youthfulness. That statement in itself is fairly incredible. This band has so much enthusiasm and excitement in their music that they ultimately mask what little weaknesses they do have. This kind of raw energy is not common...but then again neither is Surfer Blood.

Tracks

1.) Floating Vibes

2.) Swim

3.) Take It Easy

4.) Harmonix

5.) Neighbour Riffs

6.) Twin Peaks

7.) Fast Jabroni

8.) Slow Jabroni

9.) Anchorage

10.) Catholic Pagans

WK3 - Freelance Whales - Weathervanes (7.5)

Released - 12/29/09 (Digital) - 3/16/10 (Physical Re-Release)

Label - French Kiss / Mom and Pop

BLURB - What a clever take on emo. It's so clever I don't even know if I can call it emo...in fact I can't. Freelance Whales is what would happen if Ben Gibbard had a banjo, a lot of friends and lived in Williamsburg. This group of friends flavors up their brand of indie rock with a combination of bubble gum folk, layered waves of ambience and a certain indefinable hipster charm. Hopefully, this will make the Owl City nation realize their own futility and that there are actually real musicians and real friends out there, making real music. While I can't get this album out of my iPod rotation, I can't help but think I'll eventually grow out of it. Weathervanes is an all too likable album...that may be the problem.

Rating - 7.5 out of 10

FULL STORY - I'm pretty sure I saw Freelance Whales playing in a subway station last year. I was on my way to a race in Brooklyn, transferring trains in Greenpoint, when I saw what looked like a high school posse of hipsters playing xylophones and banjos. Here's the proof, but this time they were in Williamsburg.

The first track off the album, 'Generator (First Floor) has been sweeping subway platforms for the last year. Branded with a banjo riff, a slow building rhythm section and 5-way background vocals, the song offers up a campfire feel. The kind of song everyone can sing along to, and does. 'Generator (First Floor)' does a great job prefacing Weathervanes and informally introduces us to the group. After hearing this song I kind of feel like I know them from somewhere...like maybe the guitar player and I were friends in another life.

'Hannah' is the second track and makes great use of the obligatory synthesizer. Stylistically, the song bounces back and forth from that of The Get Up Kids and The Postal Service. Lyrically, the tone is playful, yet full of hope and anticipation. The lyrics themselves are creative and have a naive, youthful buoyancy to them.

"Do me this solid if you would pretty lady, please grab your martini and meet me on the balcony. I've prepared a lights show, you could fake a melody, we could argue when and where the cymbal hits should be."

Despite the overall bounciness of this track, Freelance Whales does a great job altering pace and tempo. The chorus is credible, calm and relaxed...a favorable contrast to the verse. A bright display of layered bridges add some maturity and a sense of musical awareness to the song, assuring the listener that they know what they're doing.

The fifth track on the album, 'Starring' begins with a droning, industrial synth chord progression, only to be briefly slapped around with it's antithesis, a cheerful, poppy synth riff a la HelloGoodbye. Man, I hate HelloGoodbye. Somehow this works though, as the entire song performs a balancing act between dark and light. Even the chorus follows along with the line, 'This is me starring in the strangest nightmare." 'Starring' in itself is a bittersweet oxymoron and leaves it's audience hopefully in despair.

If 'Generator (First Floor)' was the song everybody sings along to, then 'Kilojoules' is the song that everybody claps along to. It really sounds like a kids song from Nick Jr., with xylophone and keyboard riffs in all the right places. 'Kilojoules' has a very lighthearted tone, which allows you to enjoy yourself as it effortlessly clears your mind. For some reason, I imagine a college freshmen girl listening to this song on repeat in her dorm, as she gets ready to go see her boyfriend's crappy band. I don't know why.

Much of the rest of the album is very airy and filled with soothing acoustic guitars and duet style vocals. Chimes, pianos and xylophones accent the indie, pseudo-folk melodies comfortably and without force. Despite the fact that these are mostly slower songs, they are all fused with a sense of hope and togetherness and help to push the songs forward.

I still don't know why I like this album as much as I do. Part of the reason I only gave Weathervanes a 7.5 was because I really feel I'm lacking some objectivity. I've listened to it constantly since I bought it, but in the back of my head I genuinely feel that it lacks staying power. It's such a blatant departure from the music that I've been listening to lately. Freelance Whales reminds me of sleepovers, dances and camp outs. Hearing this album is just like looking at your yearbook. I feel too old for it...not that it's beneath me, but you can really tell it is meant to appeal to that 15-20 year old demographic...and yet somehow this 24 year old can't put it down. I don't know if that's good or bad.

Tracks

1.) Generator (Second Floor)

2.) Hannah

3.) Generator (First Floor)

4.) Broken Horse

5.) Starring

6.) Kilojoules

7.) Location

8.) Ghosting

9.) The Great Estates

10.) We Could Be Friends

WK2 - Vampire Weekend - Contra (7)

Released - 1/12/09

Label - XL Recordings

BLURB - Contra is dangerous footing for a music review. It's entirely too cliche to denounce the preppy New Yorkers and write off this album as a failed attempt to elaborate on their charming self-titled 2008 release. Likewise, it's entirely too predictable to say the album is amazing and once again somersault on to the Vampire Weekend bandwagon. What's even more unoriginal is to remain neutral, and tepidly suggest that while Contra is a great record in it's own right, there are certainly some detracting factors to it's inherited greatness. At gun point I'm not a huge fan of Contra. That is not to say that I don't think it's a solid sophomore effort, it is. But there are a ton of risks and experiments on this album, both musically and lyrically, that clearly push the quartet through some growing pains in a manner that is fairly easy to see and hear. That being said, Vampire Weekend's talent is too visible to not recognize and appreciate.

Rating - 7 out of 10

FULL STORY - What ultimately hurts Ezra Koenig and company is the combination of creativity and free time. There was exactly two full years between Vampire Weekend's releases...this was probably about six to eight months too long of a period. That's too much time to tinker in the studio. Too much time to try and refine their sound. Too much time to experiment. What really made Vampire Weekend's self-titled 2008 release amazing was the fact that it was four privileged, yet intelligent musicians and a room full of instruments. Nothing more, nothing less. It really sounded raw and creative, while being to the point. There weren't any expectations, guidelines or provisions and that's what allowed Vampire Weekend to be great...nobody was looking. Now that everyone is watching, I feel that Vampire Weekend really felt the pressure to put out out the best record of the new decade. Although it's impossible to succeed with that kind of pressure and so many eyes watching, in the end Vampire Weekend does an admirable job and still puts out one of the better albums of the year...but let's be honest...it's not what it could be.

So let's start with the single, no? "Horchata" grabs the listener with it's island influences and bright melodies. Throw in a xylophone and that trademarked Vampire Weekend wit and you have a very respectable introduction to Contra. The whole feel of this track is very bubbly and has an array of laid back reggae undertones...it really makes me want to drink a mojito while reading the Wall Street Journal. It's a bit too poppy for my taste, but the tempo is switched up enough with some nice percussive wrinkles and stringed arrangements to distract me.

The best song on the album is the second single, "Cousins." Here we have a feverish pace combined with a wackiness that I can't help but compare to Vampire Weekend's breakthrough "A-Punk." The drums are filled with momentum, constantly speeding up and slowing down with the tempo of the song. A mixture of wood blocks and snare rolls flavor up the percussion and help to accent Koenig's lyrical musings. The main riff is short, chunky and to the point and is juxtaposed to a series of intricate, descending motifs that are strummed like a gambling addict impatiently scratching off a lottery ticket. Combine all of this with an ending that is filled with Christmas bells and crash cymbals and you have the best of what Contra offers.

"White Sky" is one of the newer-sounding tracks which, for me, the jury is still out on. Here Rostam Batmanglij's creativity shines through. He is the brains for the majority of the string arrangements and production for the band, but for this track he conjures up a very explorative synthy-keyboard motif that echos throughout the song with a faint clap track in the background. Is this is the new Vampire Weekend? All I heard last year was synthesizers and clap tracks, and I'm not sure if this is a suit best fit by Vampire Weekend. Perhaps it will grow on me?

The third track on Contra is "Holiday" and almost has an early 2000's ska feel to it. Almost. The creative energy is very evident, and while sounding like a throwback of sorts, "Holiday" somehow sounds new. The bridge to this track brings the vocals down to that of a whisper while chopped up guitar and piano notes cleverly repeat, leading back in to another lapping of up-stroked barre chords. It's simplicity and accessibility make the song very easy to like.

"California English" is a grease fire. Vampire Weekend should never use auto-tune, ever. Even though the vocal manipulation was used mildly and is not overpowering...it's still there and is incredibly annoying. I can't take the song seriously and it's a 'must-skip' song if you're trying to listen to the album in it's entirety. For the most part the music is all over the place with very little continuity. It's very herky-jerky. The only bearable portion of the song is the string filled bridge in which Koenig (via auto-tone) delivers up some playful imageries of posers:

"Sweet carob rice cake, she don't care how the sweets taste. Fake philly cheesesteak, but she use real toothpaste."

I know I don't like the auto-tune, but there is another new musical facet on Contra that I'm not sure if I'm in love with. For whatever reason, Vampire Weekend decide to sample M.I.A on "Diplomat's Son," a very slow and monotonous beach number. It's completely uninspired and lulls the listener to sleep with electronic loops and island keys. The song really stumbles in the middle when we're forced to listen to yet another clap track, this time battling an acoustic piano (that is clearly trying to play a different song). This bridge provides us with about thirty seconds of solid head scratching.

The head scratching continues on "I Think UR a Contra." Sounding like something that couldn't make the cut for a Papercuts record, the final track is far too vast and spacious. Droning synth and ambient guitar trickles provide an airy backdrop for nothing to happen. And it doesn't. With the exception of the final chorus being accompanied with congas and acoustic guitars...nothing happens. I'm aware that there was meant to be more of a shift in focus towards the lyrics on this track, but with miniscule instrumentation and no kind of discernible melody, it's really hard to pay attention.

Like all albums, Contra has it's peaks and valleys, and for what it's worth I think it's a great sophomore effort from the band. However, it's really not what it could be. They've vacated their unique musicality and have chosen to drag their feet through the current fads of indie music. Clap tracks, auto tune and hip hop samples just don't fit the Vampire Weekend that we've all come to love. At least not for me. Even with all of this criticism the album perseveres and provides a fair amount of enviable brilliance. "Cousins," "Holiday," "Giving Up the Gun," and "Run" are all amazing in their own right and affirm that, while Vampire Weekend may have experimented a bit too much with their sound, we still love them.

Tracks

1.) Horchata

2.) White Sky

3.) Holiday

4.) California English

5.) Taxi Cab

6.) Run

7.) Cousins

8.) Giving Up the Gun

9.) Diplomat's Son

10.) I Think Ur a Contra

WK37 - Real Estate - Real Estate (7.5)

Released - Woodsist

Label - 11/17/09

BLURB - I bought this thinking Real Estate could possibly be the next Thrills. Short story - I'm a huge fan of The Thrills and met the singer in a shitty diner in Philadelphia prior to a show they had, opening for Adam Green. It goes down as one of my favorite nights of my life because I was there with one of my best friends, his mom and his sister. Anyway, here we have yet another Beach Boys influenced act trying to reincarnate the genius of Brian Wilson. I was kind of hoping for a bit of a more polished, pop act (again, like The Thrills) but what I got was yet another lo-fi recording. It seems that this fad (while I do enjoy it to some extent) is really plunging into the depths of all musical genres. This album reminds me of this years Papercuts release, but with more melodies. I can't say that I'm jumping for joy over Real Estate's self titled release, but despite my lofty and differing expectations...it's still a decent listen.

Rating - 7.5 Out of 10

FULL STORY - If I've read my magazines and blogs correctly, the single...and the song I should like the most is 'Beach Comber.' So for arguments sake, let's start here. Muddled in an ambient yet melodic feel, this track is actually halfway decent. While the pace is a bit slow for my taste, the friendly guitar riffs and nondescript lyrics offer up some solace.

"What you want is just outside your reach. You keep on searching. You're walking down that Pensacola Beach, you keep repeating."

The song itself is filled with metaphors, despite it's unassuming vibe. The entire track revolves around a metal detector wielding man searching for that lost Rolex in the sand...more plainly - all of our searches for happiness. Although blatant, the song somehow restrains the general theme in a very vague fashion through it's own patience.

"Pool Swimmers" is the second track on the album and if I was forced to describe it - it would be 'far out.' If I was stoned out of my mind and drinking a beer poolside in Malibu and there was no music at all...this would be playing in my mind. There is a very slow pace, which is matched against a very trebly (sp?) guitar riff and some decent background vocals. It's nice, but it has this slow almost psychedelic vibe to it that kind of throws me for a loop. Do I drop acid or take a hit? I need the delineation.

The highlight of the album, for me, is the combination of 'Atlantic City' and 'Fake Blues.' With 'Atlantic City' you get this fairly upbeat instrumental medley that takes you to San Diego circa 1972. You really feel you're there. Simultaneously the song evokes excitement and relaxation...I don't really know how, but it's pretty sweet. Shortly thereafter "Fake Blues" picks up with a slow building cavalcade of cleanly amped guitars. After the buildup reaches it's pick, we're met with a kind of energy that I'd compare to...well...I guess....surfing. It's fast enough to tap your foot to, but more than anything it just feels that you're locked into some kind of groove. There is a very friendly and repetitive riff that goes around, assuring you that you're not alone.

However, after these few songs everything seems to blend together. Not just pace, but instrumentation and lyrics as well. It seems that the majority of the songs on the record could be substituted for any other song on the record, without any major gripes being had. Everything seems just a tad bit slow, and just a tad bit contrived. I don't want to say it...but I think Real Estate is trying too hard. It's a good record and definitely has some definite peaks, but it just feels a bit forced to me. Sorry.

Tracks

1.) Beach Comber

2.) Pool Swimmers

3.) Suburban Dogs

4.) Black Lake

5.) Atlantic City

6.) Fake Blues

7.) Green River

8.) Suburban Beverage

9.) Let's Rock the Beach

10.) Snow Days

WK29 - Julian Casablancas - Phrazes for the Young (10)

Released - 11/3/09

Label - RCA Records

BLURB - Christmas comes early for all of us Strokes' fans, as Julian Casablancas releases what will be one of the best records of the year in, 'Phrazes for the Young.' With all five members of the currently bickering band delving off into their own niche projects since the group's last release nearly four years ago, The Strokes have been an interesting storyline to follow. After each successive individual release we've been able to ascertain each member's contributions and worth to the band. After hearing 'Phrazes for the Young,' you quickly realize what Casablancas is bringing to the table - intangibles. Casablancas has this persona that is dripping with apathy and confidence. Each track on 'Phrazes for they Young' has an indefinable swaggar to it. Casablancas knows he has the mental fortitude to create these unconventional pop-rock-indie-garage-dance tunes - but perhaps more importantly, he knows he can do this better than anyone else. Welcome to 1988.

Rating - 10 out of 10

FULL STORY - So this review is coming via a Trans-Bridge Bus wi-fi connection. Not ideal, but it will have to do. I'm currently en route to Bethlehem, PA for the next 2+ hours and what better to do then talk Julian Casablancas? I've found that less is always more, in music, in life...in everything. Keep it simple, don't out-think the room and just be natural. This is Julian Casablancas. He is 1988. He is New York City. He is rock, and yet, admittedly, he is pop. He is passionate. Everything on 'Phrazes for the Young' is remarkably natural and un-calculated, at least it sounds that way to me. Instantly I'm tempted to make comparisons to The Strokes' 2003 release, 'Room on Fire' which was filled with tons of distorted, synthy sounding guitar riffs. 'Phrazes for the Young' feels like Casablancas further elaborating on that record, more or less throwing himself in to this pop-synth-garage rock genre. While 'Room on Fire' scratched the surface of this sound, 'Phrazes for the Young' jams an ice-pick right through it's core.

The first track starts off eerily unassuming and then turns into what sounds like an old school 2002 Strokes tune with rapidly strummed guitars and Casablancas crooning about his sadness turning to bitterness. The lyrics are painfully honest and forthright:

'Somewhere along the way my hopefulness turned to sadness. Somewhere along the way my sadness turned to bitterness. Somewhere along the way my bitterness turned to anger. Somewhere along the way my anger turned to vengeance. And the ones I made pay, were never the ones who deserved it. And the ones who deserved it, they would never understand it. At least I know I'm going to hell in a purple jacket. At least I'll be in another world while they're pissing on my casket.'

After the verse, a huge chorus rains down over the speakers, filled with bright synthesizers, strings and a slightly distorted electric guitar. Not the ideal musical trident, but this combination, with Casablancas' voice, fits together perfectly.

It's 6:51pm, I've now been on the bus for no more than 15 minutes and the guy next to me is nodding off into my shoulder every 30 seconds Hate the bus.

The second track, 'Left & Right in the Dark' starts off modestly with a slow synth hook that sounds like something that would have been played at Prom, circa 1986. After briefly teasing us as a downtempo song, a digitally delayed guitar and a nice 'clean' guitar riff enter. The second section of the verse throws in a second polished riff, this time of the synth variety before it moves to yet another huge chorus. So far we're two for two on the choruses.

'11th Dimension' is the single off the record and is an absolute, impossible not to listen to 100 times in a row, gem. The entire song is just a bright keyboard progression mixed with some danceable percussion and the trademark Casablancas swaggar, as evident in the line, 'Oh, I got music coming out of my hands and feet.' The song does throw in a couple darker twists and turns with some heavily distorted and muted guitar strokes and features a bridge that proves it's ok to have dissonance in a pop song.

Here's what separates Casablancas from everyone else. He's not just test driving this whole 'keyboard and synthesizer' fad. He's thrown himself into it and is fully committed. On '4 Chords of the Apocalypse' Casablancas gives a go at the blues world and nails it. His bold interpretations and visions of what a traditional blues song could sound like in his world, filled with keyboards, distorted guitars and synthesizers, is a clever display of his musical versatility.

Further exhibiting his genius, 'Ludlow St.' begins with some odd middle eastern flute solo and then jumps right into a folksy, bluegrassy ode to one of the best streets in New York City. How does Casablancas come up with these ideas? To top this track off, it's filled with electronic drum beats and later features a banjo solo. I can't make this up. And the funny thing is it works...quite well I might add. The song has actually been one of the most critically acclaimed and well received tracks on the disc.

In my opinion, the best song on the record is the closing track 'Tourist.' Competing with an ominous, dark drum beat and effects, a guitar picks a classical, folkloric riff to start off the song. It feels like a war march. When Casablancas appears on the track he is met with a digital snare loop, which may or may not have been sampled from a L'il Wayne song. The mood of the music and the vocals match very well here as you can literally feel the fear of hopelessness through both his lyrics and the music itself.

'I wish air clouds could hold me up, like I thought as a child growing up. I wish I could sound soothing as the rainfall; but I am only a drop from the storm.'

Once again, after the verse we're hit with another powerful chorus, bearing much weight and depth This comes in the form of a descending high pitched synth riff accompanied with strong emphasis on the drum and bass beats, and of course those Casablancas pipes. While we're on the topic of the Julian's vocals, has there ever been a more perfect match of vocals and music? No square peg in the round hole on this record. I'm not sure if the music is just an extension of his voice or vice versa. It's interesting to note that Julian is no Josh Groban. Casablancas doesn't sing so much as he casually speaks to the audience, like that one cool kid you remember from high school who was always smoking in the bathroom. For whatever reason it works.

This will probably be my favorite disc of the year. It really has everything - and with each listen I keep hearing some new sound or some great line. 'Phrazes for the Young' is also masterfully produced. The whole album is incredibly tight and has a very precise feel to it - like they captured exactly what they wanted to capture, and nothing else. If you find yourself listening to the record, take the time to also go over the lyrics. I've always viewed Casablancas as a historically underrated songwriter and lyricist with The Strokes, and hopefully now he will gain some much deserved respect. His lines are always witty and thought provoking, yet simple and relatable.

This should go to show you that in music, you need to know what you do well, commit, and just dive in to the deep end. Great things can, and do, happen. 'Phrazes for the Young' is Exhibit A.

Tracks

1.) Out of the Blue

2.) Left & Right in the Dark

3.) 11th Dimension

4.) 4 Chords of the Apocalypse

5.) Ludlow St.

6.) River of Brakelights

7.) Glass

8.) Tourist

WK28 - Caleb Hawley - Steps (8.5)

Released - 10/1/09

Label - Who Needs a Label?

BLURB - This disc cannot capture the pure and effortless talent that is Caleb Hawley. Berklee grad Caleb Hawley is likely the best songwriter you've never heard and will continue to fly under the radar for the time being. Hawley oozes music in a manner that is genuine, personable and, dare I say...fun? I've had the pleasure of seeing this distinguished artist a handful of times, being exponentially pleased with each successive performance. His knack for chord progressions and modulation is unparalleled. Each of his songs contain no less than 239 chords and countless licks that always leave you wanting more. The only problem I can find is the ability to effectively contain and reproduce his energy and genius on a record. 'Steps,' while having a very raw production quality is filled with hits and brilliant tones that will leave you asking, why isn't this on the radio?

Rating - 8.5 out of 10

FULL STORY - Where to start? I was introduced to Caleb through a co-worker's e-mail...'Hey my friend is playing a show downtown tonight, please come.' Thank you Brittany! Working at a music company I get countless e-mails telling me about the next great act and how I should 'definitely' check them out. So with a couple of hours to fill before a company volleyball game about a year ago, I decided to fill the time by seeing this Caleb Hawley-guy. Great decision. He was playing at the Rockwood Music Hall, which is no bigger than my modest Astoria living room and I was sold. Instantly. I've played guitar for 9 years and I've learned to be able to recognize good songwriting when I hear it. The first time I heard Hawley play I immediately compared him to John Mayer...but he may be even a little more well rounded than the latter. When I sat down and started learning Mayer's 'Room for Squares' I fell in love with the chords and musical decisions he made. That's not an E chord....thats' an Ebm 9th chord and wait...he goes to a G#maj 7th after that? Mayer introduced me to creative, yet pop, songwriting that could cover blues, jazz, rock and soul simultaneously. Hawley does the same thing. Maybe it's a Berklee thing? The main thing that I noticed at the first show at Rockwood was that Hawley's fingers never stop. He's constantly moving and changing tones and keeping the audience on their toes.

So on to the record. 'Small Steps' opens up the disc with a playful bluesy - jazz riff and clever lyrics depicting his efforts to be patient in life. The track is filled with horns and organs, adding color to Hawley's understated vocals. It's no 'stop-in-your-tracks' masterpiece, but it readies the audience for what is in store. The chorus is powerful and full of momentum, while retaining a relaxed and mellow vibe.

The second track, 'Other Side of it All' showcases Hawley's relate-ability, and serves as somewhat of an anthem of perseverance. His lyrics traverse decades describing past generations and the ability overcome any obstacle, which is matched in intensity by his musical songwriting. This song performed solo with just an acoustic guitar bears the weight of the world, however on the record, after starting out acoustic, he incorporates a bevy a strings adding depth and emotion to the track.

Another track of note is, 'Every Shade of Gray' which is a fairly laid back blues number that is hard to not tap your foot to. The bridge of this song is quite powerful and offers an optimistic view on striving to be the person we want to be.

'My Own Two Feet,' which is likely Hawley's best track, is yet another gem of lyrical observations on life. The verse is made up of an intoxicating riff that is actually quite difficult to hear on the record. I would definitely recommend viewing this track on YouTube to gain a full appreciation of his talent: My Own Two Feet. Nonetheless, it is still an awe-inspiring track whether hearing it on the record or live.

What's really great about Hawley is his ability to be self-deprecating through his music. He's immensely talented, yet has no problem throwing a song on the album that is fun loving, while poking fun at himself. He accomplishes this through the song, 'Who's Your Doggie?' which compares his life to that of his dog. It's hard not to chuckle during this track, and while it is extremely playful, the blues foundation that which it is laid upon makes it all the more credible. It's songs like these that make the listener realize how truly gifted he is at the guitar. The way in which he subtly lays down a creative, non-monotonous pop-blues riff is all too refreshing.

All in all, this record is a great buy that will likely introduce you to one of the top songwriters in the country. Despite the album having a low ceiling on production values, Hawley's likable demeanor and personality shine through brilliantly. And oh yeah...the guy is pretty good at guitar too. Caleb Hawley is one of the good guys in the music industry right now...it's only a matter of time before he is a household name.

Tracks

1.) Small Steps

2.) Other Side of it All

3.) Final Hour

4.) Every Shade of Gray

5.) Real Vacation

6.) My Own Two Feet

7.) Gone for Good

8.) Samantha's Song

9.) Who's Your Doggie

10.) The Way it Is

11.) Fade

WK26 - Paper Route - Absence (8.5)

Released - 4/28/09
Label - Universal Motown Records

BLURB - What a surprising release! I bought this the other day on a whim, solely because amazon.com had recommended it to my account. Well done amazon.com! This record, while not in my wheelhouse of favorite genres or styles, grew on me as soon as I got through it for the second time. I'd describe Paper Route as an above-average alternative, rock/pop band, with some slight electronica. But hey, who doesn't have at least a little electronica these days? Some of the tracks on here are very radio friendly and have huge choruses while others are a little more experimental. Fans of Keane and Switchfoot will definitely appreciate 'Absence's' piano and guitar driven rock, while there may even be some converted Passion Pit fans that will be drawn to the record's subtly nuanced electronica.

Rating - 8.5 out of 10

FULL STORY - Somehow these guys are from Nashville...you'd never be able to tell. Ambient sound effects, driving guitar chords and precise piano work immediately assured me that this album would be something worth listening to. What also stands out on this record are the drums. Many of these songs are very radio friendly with solid verses and powerful choruses that carry alot of depth and weight. Think of Switchfoot's, 'Dare You to Move,' - a lot of the songs sound like that. The key difference though, is that Paper Route often time installs fast paced, almost dance-like drum beats, with the emphasis being on either snare or hi-hat hits. This helps to speed up slower songs and gives an added dimension to the tracks that are already solid. For anyone that is a fan of Phoenix, I'd be quick to compare this drumming style to 'Lisztomania' or '1901.' A good example of this would be Paper Route's, 'Last Time.'

As of right now, 'Last Time' is my favorite track on the record. Paper Route opens with a string of background harmonies, a synth loop and then dives right in to the song, full steam ahead. The band does a great job of mixing tempos, helping to delineate the song's structure. At about the 3:15 mark, the tracks cuts out completely leaving just sound effects and drums, and then slowly works itself back around to the chorus. Personally, I think this is a really cool trick because when the chorus comes back up, there is a line of alternate lyrics that are sung over the original chorus. The break, while serving as a bridge, also kind of starts the song over in a way that re-interests the listener. The depth and variety here are amazing and really pulls the audience in.

'Are We All Forgotten' strays away from the rock/pop feel that fills the majority of the album, by opting for a more electronic vibe (drums included), conjuring up comparisons to The Postal Service or Mae. The lyrics even match their emo counterparts:

"I still believe that change can happen, though it's hard and it happens slowly. I still believe forgiveness comes with love and god when it washes it over me. If we've all forgotten you, are we all forgotten too? Don't you break my heart, don't you break my heart again."

Further distancing themselves from being locked into one specific genre, Paper Route goes experimental with, 'Gutter.' I love walking around New York with this song blasting on my iPod. The synth and the effects on this track are more prevalent here than on the rest of the album. 'Gutter' is what will attract the Passion Pit and Thievery Corporation fans out there to Paper Route. The track is done at a fairly slow pace, but there are synthesizers, strings, weird drum effects and noises coming at you from every direction.

Other songs on here that are worth mentioning include 'Wish' which is a very well organized, catchy pop rock song. On this track a piano riff weaves in and out, providing a catchy melody that really begs the question, 'why isn't this on the radio?' 'Enemy Among Us' opens up this disc, but really doesn't represent the album as a whole. A slow piano progression paced with an equally slow drum beat provide for a very downtempo song that sounds similar to something that would be on a Keane or a Coldplay album. And finally, if you're looking for a track that sounds like it's out of the 80's, look no further than 'Good Intentions.' Again, this tune feature a considerably slow, albeit relaxed tempo, filled with keyboards, strings and some decent background vocals.

With this high praise I should have given this a 10, no? Well, the big (only) knock that I have with this album is that I've found it difficult to listen to straight through. It's really weird and kind of unique in that, this album covers a large amount of genres and influences, yet it still comes out with this singular alternative pop/rock feel. The songs that I didn't mention in this review are all very predictable and sound exactly as I would have thought they'd sound. So while Paper Route does run the gamut of experimentation and creativity, there are still a couple of songs that appear to be filler, forcing me to skip through them. But don't let that detract too much from what Paper Route accomplishes on 'Absence.' This record is a definite surprise and there are plenty of outstanding and innovative tracks to be found.

Tracks
1.) Enemy Among Us
2.) Wish
3.) Carousel
4.) Good Intentions
5.) Tiger Teeth
6.) Be Healed
7.) Last Time
8.) No Sudden Revelations
9.) Gutter
10.) Are We All Forgotten
11.) Lovers' Anthem
12.) Dance on Our Graves

WK21 - Sondre Lerche - Heartbeat Radio (10)

Released - 9/8/09

Label - Rounder Records

BLURB - He's back and better than ever. Sondre Lerche returns after a string of successful albums and a film score to release his highly anticipated, 'Heartbeat Radio.' This has absolutely everything you could ask for. Covering every genre from folk to pop to jazz, this album has a soundtrack feel to it, keeping the listener's ears open for the duration of the record. Lerche does a great job at focusing on the minor details and constantly looking for ways to enhance his songs. Some tracks are straight ahead radio pop songs, while others go off onto orchestral tangents and experiments. Move over Rufus Wainwright.

Rating - 10 out of 10

FULL STORY - The first time I saw Lerche was 7 years ago, while opening for the Thrills. He came out to a stereo pumping Beyonce's, 'Dangerously in Love' wearing a white t-shirt and holding an electric guitar in one hand and an amp in the other. No band at all. After his set I bought a CD that I still listen to quite a bit, 'Faces Down.' I've picked up several of his other records and was not surprised when he was asked to score a film a couple years back (Dan in Real Life, featuring Steve Carrell). This project was quite similar to that of Jack Johnson scoring the Curious George film.

Fast forward to the present and we have, 'Heartbeat Radio.' I said that Lerche does well with the minor aspects of his music, here's what I mean. I tried learning a few of his songs back in the day, they are tough. He is always throwing in chord changes in a clever manner. Not just major or minor chords, but diminished, 7th, 9th, 11th and other transitional chords. So you'll be listening to a song, and hear all of these great accents to the melody, only making his songs more dynamic and intuitive. Theory class has now ended.

'Good Luck' is the opening track and enters suspiciously calm. Don't be fooled, this is a masterpiece in the waiting. Soft guitars, followed by a kick drum slowly build as the song builds momentum to Lerche waxing poetic. Chaos ensues after the three minute mark as a full orchestra enters with screeching violins and cellos. As the song begins to conclude this very droll and unimaginative tracks turns into a battle of strings. I can only describe it as something that would be playing in the background of a 1930's dramatic film. The thought process to create this elaborate production and structure is why I like Sondre Lerche. He'll only do this a couple times on each of his records (too much would ruin the album), but I was thrilled to hear this setup on the opening track.

The title track, 'Heartbeat Radio' mocks the music industry and the way in which songs are perceived through mass media today. It's a satirical journey, that ironically doubles as the album's first single. Lerche busts out the acoustic for this tune and offers up some great wordplay.

'I Cannot Let You Go' is the third track on the record and is worked to perfection. Lerche knows how to get everything out of his verses and refrains, and then build a powerful chorus. A faster than usual drum beat and layers of sound really push this song forward. There is also a great little guitar riff that flows in and out of the tune.

This album has garnered a lot of comparisons to The Beatles, actually. I don't know if that's appropriate, but it's being done. If there is any song to best fit this comparison it would be, 'Words and Music.' Here Lerche combines the simple with the complex. A basic chord progression remains steady throughout the track, but there are tiny effects, nuances and changes that would remind someone of the White Album. Once again, a basic song and structure is determined, and then enhanced by Lerche's genius. 'If Only and 'Like Lazenby' could also fall into this humbling category.

'If Only' and 'Easy to Persuade' are also great tracks in their own right. 'If Only' is filled with sudden stops and starts and key changes. The tempo is constantly changing, yet it doesn't affect the general flow of the song. 'Easy to Persuade' is more of a steady, rock-influenced number with a well delivered chorus and an uptempo pace and an amazing last sixty seconds. The two songs here are polar opposites of each other, yet equally great. By pairing them back to back, the listener can really dissect these differing styles and gain an appreciation for them out of their variations.

This would be thirty pages if I kept going. What you need to know is that this is a rewarding record for both Sondre Lerche and the listener. For those unfamiliar with Lerche, his sound on this album has transformed to something of Vampire Weekend, without the pretentiousness, and with more jazz, rock and orchestral influences. His work continues to get better as his career racks up the years. This is definitely up there for best of the year honors

Tracks

1.) Good Luck

2.) Heartbeat Radio

3.) I Cannot Let You Go

4.) Like Lazenby

5.) If Only

6.) Pioneer

7.) Easy to Persuade

8.) Words and Music

9.) I Guess It's Gonna Rain Today

10.) Almighty Moon

11.) Don't Look Down

12.) Goodnight

WK20 - Mayer Hawthorne - A Strange Arrangement (8)

Released - 9/1/09

Label - Stones Throw Records

BLURB - A very nice debut here from the previously unknown Mayer Hawthorne. This soulful crooner showcases his voice and swagger over twelve tracks of rich R&B and motown grooves. Consider this record to be fusion of Robin Thicke and Amy Winehouse, minus the crack. 'A Strange Arrangement' is definitely a feel good record and very easy to listen to. The production of this album is complete with horns, strings, pianos and filled with 60's Detroit style songwriting. The one knock on him would have to be his voice. When Hawthorne attempts to reach his higher registers through falsetto it comes off a bit nasally, as evident on, 'Just Not Gonna Work Out.' But other than that, this record is very well done, and a pleasant surprise for music listeners everywhere.

Rating - 8 out of 10

FULL STORY - This record opens with numerous, layered vocal tracks preluding the title track, 'A Strange Arrangement.' The flow and the rhythm of this song screams eighth grade slow dance music, but with lyrics suggesting anything but puppy love. The slow pace of the opening tracks may discourage listeners from giving Hawthorne a fair shake, but excellence is just around the corner.

'Just Ain't Gonna Work Out' shows us a solid drum beat and some muted piano chords can go a long way. The potential for this song to be amazing is slightly diminished as the verses find themselves locked in Hawthorne's falsetto, which sounds unnatural and forced. Everything is there for the track to be a success: a solid chorus, some catchy hooks and subtle piano work, but again his voicing over the verses detracts a bit from the song.

After a mediocre opening three tracks, this record really hits its stride and becomes amazing. On 'Maybe So, Maybe No' Hawthorne lets loose and nails the vocals. A collection of big band horns and jazz guitar send this song back to the 60's. 'Your Easy Lovin' Ain't Pleasin' Nothin' is not only the longest title on the album, but it's also the musical standout. After hearing this you'll want to dig out your long poodle skirt, go dancing and buy a malt. Everything on this track is on point. In addition to great songwriting, an incredible bass line and an upbeat tempo, the track also throws in a powerful saxophone solo. You'll definitely want to clap along to this one.

'Make Her Mine' is another great track. Hawthorne uses some clever wordplay that stays relevant in today's music but sounds classic at the same time.

"I may not drive a new mercedes, but I'll chauffeur my girl to the edge of the world. I may not wear a golden watch, but I'll be right on time for a woman so fine."

These lyrics have a very simplified cheesiness to them, but Hawthorne's delivery makes them sound inarguably, cool.

With an opening comparable to Diana Ross' 'Baby Love,' 'One Track Mind' again reaches into the vintage motown vault. While the music is great, the lyrics are sub par. The whole track revolves around a girl that spends all of Hawthorne's money. Real original. But yet again, his delivery and the 'feel' of the song makes it not only listenable, but enjoyable.

As a whole this album is pretty good. Nothing more. But there are about five tracks that are absolute home runs, and have a timeless quality to them, which is very rare. It's a very nice debut, but I'd a like to see some better vocals and some songs that are longer than three minutes. That said, this is still worthy of purchasing.

Tracks

1.) Prelude

2.) A Strange Arrangement

3.) Just Ain't Gonna Work Out

4.) Maybe So, Maybe No

5.) Your Easy Lovin' Ain't Pleasin' Nothin'

6.) I Wish It Would Rain

7.) Maker Her Mine

8.) One Track Mind

9.) The Ills

10.) Shiny & New

11.) Let Me Know

12.) Green Eyed Love

WK18 - Fruit Bats - The Ruminant Band (7.5)

Released: 8/4/09

Label: Sub Pop Records

BLURB - Not quite there, yet. The Fruit Bat's sound will strike a chord for any fan of The Shins as the two sound eerily similar. This should come as no surprise, however, as Fruit Bats frontman Eric Johnson recently joined The Shins. How perfect. This genre of intellectual alternative pop music, though, is a tricky hill to climb. It's very easy to fall into a rut, forcing words to music. I'd have to be heavily persuaded that this record was not written with a guitar in one hand and a thesaurus in the other. That being said, what the Fruit Bats do great is tell stories. Each track is like a three minute novel filled with adjectives and guitars, filled with bright melodies and major chords. There is also a very understated country twang to this record. It's not overwhelming, think of it more in the vein of the subtle country nuances that Josh Rouse or Brendan Benson use. I love The Shins but hate country music, so maybe that's why I'm not completely sold on, 'The Ruminant Band' just yet.

Rating - 7.5 out of 10

FULL STORY - The trouble with this record is almost every song sounds alike. Granted the Fruit Bats are a fairly decent band, but it'd be nice to hear more than a few songs on this album that aren't acoustic, mid-tempo tales about someone Eric Johnson saw on the side of a road somewhere. While the writing is creative, yet redundant, it does yield some gems.

The first gem would have to be 'Feather Bed.' With a 60's soft rock vibe and some great vocals, this track is the definitive hit of, 'The Ruminant Band.' The song begs the question - what if Ben Folds, Billy Joel and Boston co-wrote a song? Everything is perfect here. 'Feather Bed' breaks away from the singer/songwriter feel of the record, and it's (pretty much only) here where the band really comes together as one unit. The keyboard, organs and pianos provide a lot of retro flavor, while a couple fuzzy guitar solos and a vintage drum beat solidify the fact that this is indeed a rock song.

'Being On Our Own' is the other gem of this record with Beatle-esque tones and a charming string of acoustic piano chords. As is the general theme of this record, light hearted lyrics tell the stories of Eric Johnson's personal encounters, reminding them it's not so bad being on your own. The melody of the chorus and the background vocals are a perfect match and make 'Being On Our Own' the catchiest song on the record.

'Singing Joy to the World' is a very clever story about a young couple settling for love after going to a Three Dog Night concert and singing 'Joy to the World' together. The track is very folksy and for the most part is solely acoustic guitar. The lack of instrumentation does create quite the intimate atmosphere, reeling the listener in. Each verse is a different event in the relationship, but halfway through the song the well seems to dry up and without much else going on in the song, it's not very tough to become disinterested.

After these three tracks, this album is fairly blurry. 'Feather Bed' is the rock song, 'Being On Our Own' is the catchy song, and 'Singing Joy to the World' is the ballad. The rest of the record is right on par with what it should or is supposed to be - a bright, enchanting collection of clever songs and stories...just don't ask me to differentiate between them. Whereas the three songs I mentioned are distinctly unique and creative, those remaining on the disc are less memorable, despite being creative in their own sense of the word. It's as if these tracks were all taken out of the same 'idea box' and crafted slightly different than one another, attempting to create the perception that they were unique. However, it is more than clear that they are all from the same vein, both wholly and individually.

Point taken, as I write this, 'The Ruminant Band' is already beginning to grow on me. The compositions and instrumentations are very well done, with slight monotony being the only, albeit, blatant, defect in the album. This is a decent record with a nice upside to it, worth a listen.

Tracks

1.) Primitive Man

2.) The Ruminant Band

3.) Tegucigalpa

4.) Beautiful Morning Light

5.) The Hobo Girl

6.) Being On Our Own

7.) My Unusual Friend

8.) Singing Joy to the World

9.) The Blessed Breeze

10.) Feather Bed

11.) Flamingo

WK12 - Phoenix - Wolfgang Amadeus Phoenix (9)

Released - 5/12/09

Label - Ghettoblaster S.A.R.L. / Glassnote Entertainment Group LLC

BLURB - Quite the mix here. I hear the Strokes and Coldplay clashing with a dance beat in the background. While some are obviously classifying this as 'dance-rock' I don't think 'Wolfgang Amadeus Phoenix' falls into this dangerous label...Phoenix is a rock band with some heavy pop and synth influences. Nobody is doing the jitterbug to this, but they are definitely tapping their foot to the snare hits. This is a good thing. Over the last three years this 'european synth' sound has flooded this side of the Atlantic. Whether originating overseas or not and most of the time these acts are fairly transparent, however, French synth-rockers Phoenix are not trying to force the issue. It could be argued that their sound has taken on aspects from American rock and alternative music, while still maintaining an uptempo European feel. It's a delicate balance, but clearly Phoenix already knows this.

Rating - 9 out of 10

FULL STORY - Phoenix is one of only four acts to have a third song requested by Saturday Night Live, this was back in April. You've probably heard of the other three (Paul McCartney, U2 and Coldplay). It's kind of ironic that America's greatest sketch comedy show of all time has never had an American band back for a third go at it.

Among the several reasons I like Phoenix was the initial similarity that I drew to The Strokes. Outside of one Dileepan Ganesan, or those who pass my cube at Cherry Lane, nobody really knows or understands my affection for The Strokes. I've gone as far as saying that they are the best band of our (the current twenty-somethings) era. There was never anything like them before they shot out of New York City and there hasn't been anything remotely close to them since. No - The Vines, Hives and Mooney Suzuki are not even in the same stratosphere as them. You can tell a great band when, upon their initial success, here comes a slew of imitators claiming they've been around just as long and should be in the conversation. Sorry, but you're not. The first time I heard '1901' by Phoenix, I was like....ok, now they are being copied in France. After really sitting down and listening to 'Wolfgang Amadeus Phoenix' I realized they sound nothing like them. All of the signature trademarks of The Strokes (raw vocals, violent guitar riffs and traditional pop songwriting) are vacant in Phoenix. In stark contrast they have polished vocals, clean guitars and experiment with what a song should be. Just take a look at 'Love Like a Sunset, Parts I & II,' hell, there aren't even any vocals on those tracks. Phoenix does everything well that The Strokes never tried, and never tried doing anything that The Strokes did well. And in these two vastly different approaches, both end up sounding hauntingly similar, yet utterly unique.

'Lisztomania' was the first single, and refers to the scene surrounding Franz Liszt, Europe's first flamboyant classical pop sensation. This track has some pounding drums and an assortment of guitars (acoustic, rhythm, clean, electric lead). The bridge throws in some brief, spacious synth, brilliantly contrasting with the song's pace. The tune is extremely catchy and will have you shouting 'Lisztomania,' even if you have no idea what that means. Cue the synth for the second track, '1901.' This is the best song on the album, hands down. The synth is heavy, the guitars are light and the drum beat is fast and slow at all the right times.

'Fences' slows down the record's frenetic pace and feature some nice keyboard and acoustic tones. A very nice song to counter 'Lisztomania' and '1901.' From here this record goes a little haywire. 'Love Like a Sunset Part I' is a slowly building monster. As each minute goes by, more and more elements of chaos and friction are added. As I alluded to earlier, there are no vocals in this track. Halfway through, some african sounding guitar riffs are used to pierce through a wall of sonic synthesizers, only to stop entirely and give way to some kind of distorted video game soundtrack. After this, the song almost turns into a jam song in the style of Lotus. Another cool guitar riff emerges and instrumentation is once again slowly added, pushing the pace and altering the mood. The song then segues into the 'Part II' which blends in some acoustic guitar and ultimately lyrics. The two parts to this song form a journey of sorts and you can't help but think your iTunes suddenly hit shuffle and is now on some experimental, avante garde record. This is confirmed as 'Lasso' is born out of the sunset science project.

'Lasso' takes the listener back to the beginning of this record with more familiar pop stylings, and a return to clean guitars and witty lyrics. The remainder of the album is done in this vein. Well crafted songs with clever content and an underestimated wall of sound. This record is a great buy for anyone that likes The Strokes, Coldplay...even Death Cab for Cutie. There is a very mainstream feel to the album, even though it will never be mainstream. Looking forward to seeing what comes of 'Wolfgang Amadeus Phoenix...'

Tracks

1.) Lisztomania

2.) 1901

3.) Fences

4.) Love Like a Sunset Part I

5.) Love Like a Sunset Part II

6.) Lasso

7.) Rome

8.) Countdown

9.) Girlfriend

10.) Armistice

WK 9 - Iglu & Hartly - & Then Boom (5.5)

Released - 5/5/09

Label - Republic

BLURB - This genre bending record burst onto this scene in the UK last year and is just starting to gain some steam here in the states. The five-piece act of Iglu & Hartly formed while in college at Colorado and relocated to California to pursue their creative juices. Their sound has often been typified as surf rock by critics, but that is not really an accurate depiction. This record is really an imitation, manufactured MGMT sound, attempting to recreate that ‘synth-indie-pop feel,’ but without any of the folk influence. This should be great, but there’s just one problem, these white kids from Boulder think they can rap too.

RATING - 5.5 out of 10

FULL STORY - Consider this my throwback. Originally released in September of 2008, '& Then Boom’ quickly gained a following in the United Kingdom, with it’s first single, ‘In This City’ climbing up to No. 5 on the UK charts. The band has since re-released this album stateside in early May of 2009 hoping to cash in on some fairly substantial buzz abroad. Before I tell you why this record is a train wreck, let me start with what is actually really great with this album. After just one listen the audience will have every track stuck in their head. The music is incredibly upbeat and filled with dance beats set to a combination of synth-fused rock and indie pop tendencies. Further ameliorating this record is it’s use of the chorus. Nearly every chorus on this record is memorable, well-written and extremely catchy. The general sound of this album is not of this decade, or the last decade for the matter, yet Iglu & Hartly find a way to become relevant in today’s music market. The songwriting and musical construction is extremely clever and creative, yet remains simple and easy for the listener to comprehend. Rich bass lines, atmospheric keyboards, distorted guitars and dreamy sound effects can be found throughout all eleven tracks. ‘& Then Boom’ does a tremendous job of creating a bed of music within each song for the lyrics to fall upon.

The blatant discrepancy with this disc is the lyrics. Well, not the lyrics per se, but the delivery of the lyrics. I alluded to some tremendous musical creativity above, but this doesn’t mean anything if it is presented alongside a heaping pile of lyrical garbage. This is not and should not be a tacky, cliched rap record, but Iglu & Hartly find a way to completely destroy their sound with an endless barrage of hackneyed and annoying rap verses. It doesn’t fit. It’s the quintessential, ‘trying to fit the square peg in the round hole’ line. Only the few, and extremely talented can figure out how to fuse two entirely different genres successfully, and unfortunately for Iglu & Hartly, they find themselves lost in the majority of ‘good tries.’ Every song (musically) and every chorus, are almost spot on and show real potential, however they are each sandbagged and undermined by equally terrible verses and refrains. To the listener this is immensely disheartening. With such great highs and such regrettable lows, one can’t help becoming confused and tired with the tug-of-war between good and evil. If the band was able to nail the rap verses and genuinely sounded ‘fresh,’ this record would be an absolute home run. However, the rap and delivery of lyrics is extremely amateur with a distinct nasally and almost whiny voice and feel. It can almost be likened to a poor karaoke rendition of (insert any hip hop song) performed by a 15 year old from suburban America. Actually...have you ever seen MTV’s, ‘Made’ where the white high school kid who tries to be made into a hip hop superstar? It’s kind of like that.

Aside from what I have discussed, I sincerely feel that this is still a really, really good record. It’s clear how much I object to ‘& Then Boom’s’ lyrical delivery and raps, but with that being said, I still can’t put this album down. This speaks volumes to the amount of musical creativity and imagination that found it’s way on to the record. The clear favorites on this album for any listener will be, ‘Believe,’ ‘Violent and Young,’ ‘Tomorrow,’ ’Day Glo,’ and ‘In This City.’ With each song being equally parts brilliant and irritating.

Buy this record if you enjoy roller-coasters, dance beats, and ultimately being disappointed. I’ve never like MGMT as much as I do right now.

TRACKS

1.) Believe

2.) Violent and Young

3.) Tomorrow

4.) Build

5.) Day Glo

6.) In This City

7.) People

8.) Whatever We Like

9.) We'll See

10.) Out There

11.) Jump Out of Your Car

WK7 - Dave Matthews Band - Big Whiskey and the GrooGrux King (6.5)

Released - 6/2/09

Label - Bama Rags Recordings, LLC

BLURB - Will this get a fair review? The answer is yes. Maybe. This, 'album-that-was-never-to-be,' is a highly touted sendoff to the tragically departed DMB founding member and saxophonist, LeRoi Moore. Lone saxophone solos occupy both the opening and closing tracks encapsulating this record, forever preserving it as LeRoi's. There are some great shots of funk and rock in here...but is there anything else?

Rating - 6.5 out of 10

FULL STORY - It is well documented that I do not enjoy the Dave Matthews Band (See Also: every conversation I've ever had with a DMB fan). That being said, I absolutely get why 'Dave' is so successful and has legions of fans around the world. Dave is an extremely likable guy, in a likable band, that plays likable music. I get it. For whatever reason, they just never struck a chord with me. I don't find seven minute violin solos (which will cover a whopping six notes) and mindless 'scatting' by Dave to be pleasurable. Sorry. Their music doesn't go anywhere or accomplish anything. It's kind of like hockey. I understand why hockey is a sport and why people like it...but I would rather cut the grass. The worst part about 'Hockey Guy' or 'DMB Guy' is that you can never have a reasonable, objective conversation with them. Hockey is the greatest and Dave Matthews Band is the greatest, and if you offer any kind of disagreement you're instantly bombarded with endless, 'You don' t know what you're talking about' arguments, that never offer an actual position or logical rationale. They are all too far involved to offer any kind of objective opinion. DMB fans are all just mouth-breathers that can't see the forest for the trees. Alright, I got that out of my system.

I'll start with the good. Dave Matthews Band reached out to highly acclaimed rock producer Rob Cavallo (Green Day, My Chemical Romance, Goo Goo Dolls) to handle the production for 'Big Whiskey and the GrooGrux King.' This move definitely pays off in a number of ways. There are clear, definitive shots of rock and funk that lend a helping hand to DMB and provide a tangible 'edge' to the music. Right away, 'Shock Me Like a Monkey' pulls me in with an assortment of powerful riffs and a tremendous amount of energy. Cavallo found a great way to seamlessly tie together rock and funk without straying to far from that 'vintage' DMB sound. This delicious recipe is also blatantly obvious on the tune, 'Why I Am.' High energy, contagious melodies...another great song.

Let it also be known to the world that I love the single, 'Funny the Way It Is.' When you bring together the funk-rock fusion that was already established on the record, with a string section, keys and clever topical, lyrics...you're going to get a great single. The electric guitar work on this track also subtlety accomplishes what an acoustic guitar cannot. Granted, there is still acoustic guitar on the record, but it is very faint. The electric helps to further emphasize a point or a mood that is trying to be accomplished. During the verses, the sound is very southern pop - and has almost a 'bayou-twang' feel to it. Then when there needs to be a punch and some 'oomph' for the chorus, the distortion kicks in, yet it is not overpowering.

Now for the bad. If you're going to grab the attention of the listener with a great intro, 'Shake Me Like a Monkey' and 'Funny the Way it Is,' you cannot follow it up with 'Lying in the Hands of God.' Good God (no pun intended) this a terrible song. Snooze city. After 30 seconds I wanted to go to Home Depot, buy an ice pick, and swallow it. 'Lying in the Hands of God' sounds like every song I've ever heard while sitting in the waiting room of a dentist. The track is so slow and just kind of sits there. Further ruining this song, is the fact that, 'Why I Am' follows it up. So after being tortured for 5:13, I get another great song coming out of left field. What am I supposed to think? Now, I understand that every song can't be great. Every song can't be fast or slow. Every song can't be thought provoking or fun. Variety is the driving force of music. But as a listener, I can't help feeling a little confused.

After 'Why I Am' the record is fairly forgettable. There is just way too much filler for me. Each track bleeds together, but not in a good way. Have you ever had to write a report, nail a great introductory paragraph, but then get rushed and just kind of wing the rest of the paper? This is 'Big Whiskey.' Granted, the second half of the record is obviously reaching out to LeRoi and understandably trying to convey some raw emotion and religious perspectives, but it comes off as uninspired and very mundane. This leads me to the main focus of this review. What is DMB trying to accomplish with this record? Is this supposed to be a somber, meaningful farewell to LeRoi Moore or is it this wild departure from the norm, to be filled with rock overtones and infectious funk rhythms? If you have a goal and an idea...stick with it. Prepare like hell, and just let it flow.

I may be wrong, but let me offer this argument. If this record was meant to be an emotional goodbye and filled with songs, lyrics and ideas that the average music enthusiast really wouldn't be able to relate to or enjoy, I would like it exponentially more. Say this record was quietly released without alot of press and was just kind of done as a tribute, and as something that more or less, needed to be done. Great. I can respect and admire that. It wasn't. Of all people Dave Matthews knows that whatever his band throws together, it will sell. However, the acquisition of Cavallo was highly publicized and the record was promoted to be this energetic, unique, abstract piece of art. It's almost as is if DMB created a predetermined number of three great pop/rock numbers as bait for consumers, luring fans and listeners in to purchasing what would otherwise be a dry, inwardly reflective disc. It's extremely curious. Now, since I am not a DMB fan I can be rational. There's a good chance I'm completely wrong, and for all I know this was not the intent of the band. Marketing and promotion could have gotten out of hand, and after incredible anticipation and pressure, this album could have turned into something that it was never originally planned to be. That being said, I'm left to critique the end product, not what it was supposed to or should be.

All in all 'Dave' fans will rejoice and love this record. 'Big Whiskey' will be played non-stop at all upcoming summer BBQ's and I'll be ambushed with countless, 'Hey, isn't the new DMB album sweet?' questions. To which I'll reply, 'Yeh, there are a couple good songs,' proceed to down eight Yuenglings and go on about my business. They'll suggest that it is the band's best effort yet, and offer pre-conceived notions it is exactly what LeRoi would have wanted. The earth will continue to revolve around the sun, and everything will be as it should.

If you're bored and want something fun to do - read any less-than-amazing review of 'Big Whiskey' and check out the outrage by DMB fans on the message boards.

Tracks

1.) Grux

2.) Shake Me Like a Monkey

3.) Funny the Way it Is

4.) Lying in the Hands of God

5.) Why I Am

6.) Dive In

7.) Spaceman

8) Squirm

9.) Alligator Pie

10.) Seven

11.) Time Bomb

12.) Baby Blue

13.) You & Me