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

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

WK30 - Wolfmother - Cosmic Egg (8)

Released - 10/23/09

Label - Modular Recordings

BLURB - For whatever reason, everyone is killing, 'Cosmic Egg.' Granted, the band established themselves as one of the preeminent rock acts after releasing their critically acclaimed, self-titled debut over three years ago - so I guess everyone has gigantic expectations for this album. Wolfmother's second release is exactly what it should be, especially considering that 2/3 of the band left, over 'creative differences' this past year. With the new lineup comes a slightly newer and more refined sound. This record has less of a 'classic' feel and takes more musical risks. While 'Cosmic Egg' is not everything it could be, it still stands up to the Wolfmother brand and is a progressive next step for the band.

Rating - 8 out of 10

FULL STORY - Alright...second straight blog entry coming from a bus. This needs to end. There's something to be said when the only free time I have, comes on a bus. Oh well.

I'm a huge fan of jinxes. In 2008 when the Phillies (by the way I'm a huge Phillies fan) beat the Rays in to the World Series, I picked the Rays in a genius reverse-jinx-scheme. This year, trying to further my insanity, I went for the reverse-reverse-jinx, by actually thinking the 'Phils could handle the Yankees...but it was too much. Philadelphia was crushed.

So here's where I'm going with this jinx talk. The publishing company I work for actually administers the copyrights for Wolfmother's debut disc, but a few months ago, the group's agreement ended and they relocated to another publisher. I was furious on many different levels. Part of me wants Wolfmother to kind of flop now. Or at least stumble a bit. Another part wants the (now) quartet to flourish, as they are genuinely one of the great acts out there. What to do?

There was a point when I was just starting to dive into the Wolfmother repertoire and a synchronization license for the band's material to be used in South Park came across my desk. Heaven. One of my favorite bands, getting placed in one of my favorite shows, with my company reaping the benefits. One year later, the band breaks up and gets new members, releases a new album and leaves my company. Objectivity may be at a premium here, but let's see what can be drummed up. I'm torn, but I'll lean Wolfmother.

The first track 'California Queen' is a fuzzy, dizzying whirlwind of an opener. There is a hypnotizing, albeit monotonous, two note riff that constitutes much of this song. All of the Wolfmother staples appear to be here...the fast tempo, heavy distortion and Stockdale's voice, which he is borrowing from Robert Plant. So we're three for three...should be a great song, no? For whatever reason, there is an absolutely terrible, poorly placed 'B' section that sucks all of the momentum out of the song. It's slow and awkard, giving what we all thought was an uptempo track at the beginning, a Jekyll and Hyde identity complex.

'New Moon Rising' is the single and has been used quite a bit in the film and televison world. The riff friendly track sounds exactly like a Wolfmother single should sound like. Stockdale nails the vocals and the drums, for some reason, sound even harder than normal on this song. This song kind of reminds me of 'Dimension' from their first disc.

The third track 'White Feather' shows the most growth and progression for Wolfmother. 'White Feather,' while one of the slower tracks, has a nicely understated blues tone, channeling a Rolling Stones-esque feel, from their prime. There is a screeching, in-your-face guitar solo during the bridge that will makes you want to go out and buy a wah pedal. It's that good. The whole song, is that good. You can hear the drum beat play with the rhythm guitar during the verses, offering a clever back-and-forth jarring of sounds. Sounding not of this era, but maybe the late 60's, 'White Feather' will end up be a classic Wolfmother tune.

The epic journey that is 'In the Castle' is the best and most creative song on 'Cosmic Egg.' I'm really inclined to make a 'Stairway to Heaven' comparison but I can't. It's too soon. People wouldn't see my point. But here's what I will say...On this piece, Stockdale really shifts a lot of the attention to the lyrics, creating a mythical tale about entering into the 'Kingdom of the Sun.' Stockdale has always used weird imagery with his lyrics, as if nobody told him it was almost 2010. He often uses classical connotations to help shape our interpretation of how he sees his songs. I would need more than two hands to count how many Wolfmother cuts reference castles, gypsies, horses, thieves or other odd folklore. Well, he is from Australia....is that enough reason? For what it's worth and as weird as it is, I think it works, and it's consistent. This gives their Wolfmother a 'Led Zepplin,' larger than life feel. It's unfair to make this comparison, but it's too obvious not to.

Back to 'In the Castle.' This song does a great job at switching tempo and velocity, while always maintaining forward momentum. When you need to hear Stockdale, the music's temperament is steady and thought provoking. When there is a shift with the feel of the vocals, the guitars and bass kick into distortion, emphasizing whatever line Stockdale is screaming. By the end of the song there is so much energy and fury stored up, that it spills up into one of the best outros I've heard in a while. You're definitely glad you stuck around for this nearly six minute track.

Much of this record sounds very similar to the four tracks described above, and there really aren't any true stand outs. A lot of times I judge a record on how it sounds as a whole, played front to back. With Wolfmother I find I use the opposite strategy. As a fan of their music, I really look for that smash, epic, rocking, other-wordly, track. That's their M.O. There were about five essential hits on their first record - there is maybe one on 'Cosmic Egg.'

Creatively and maturity wise, the album as a whole is better than their debut. There is more variety and risk. It's not difficult to hear tangible examples of their growth and evolution, as a band. There is much more tone and color to their music. They are going in the right direction, but 'Cosmic Egg' is definitely a 'two steps forward, one step back' sophomore attempt. Be that as it may - it will still rock you hard. Probably harder than you thought it could.

Tracks

1.) California Queen

2.) New Moon Rising

3.) White Feather

4.) Sundial

5.) In the Morning

6.) 10,000 Feet

7.) Cosmic Egg

8.) Far Away

9.) Pilgrim

10.) In the Castle

11.) Phoenix

12.) Violence of the Sun

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

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

WK23 - Brand New - Daisy (8.5)

Released - 9/22/09

Label - DGC Records

Blurb - This comes at you hard. Very Hard. Just listen to the opening track. There's just a piano and female singing and then BOOM! The best and most aggressive song on the album, 'Vices' explodes into your headphones. Yet, this isn't a sign of things to come. This record is very dark, yet musically varied. Brand New does a great job evolving and transcending genres here. 'Daisy,' if predictably, is not your standard emo release. There is a certain grunge and alternative feel to this recording, awakening a genre that was all but dead. Is it there best release? No - 'Deja Entendu' holds that title, but this is definitely up there.

Rating - 8.5 out of 10

Full Story - Angst-ridden and very down tempo, 'Daisy' is the very sought after fourth release from emo-rockers Brand New. The band burst on the scene the better part of a decade ago as an energetic pop-punk band that relied on lyrical connections to their audience and a full throttle live show. As the years have past, Brand New have altered their sound and image, and never relied on producing something that they were supposed to produce. The reason that Brand New is still relevant and successful today, is the same reason that Thursday and Saves the Day aren't. Adaptation and expression.

The new record, 'Daisy,' exploits this feat brilliantly. When I first listened to it, I was like...woah...is this Brand New? There is such a classic feel to this record, not sounding of this decade. The tracks sound something like Nirvana meets Pearl Jam meets Thrice. A very odd formula. Obviously they didn't set out to create this record with the soul intent of appearing to be, 'grunge' now. This is just what is coming out.

With all Brand New records, the focus point tends to be the lyrical content. With this particular release, I feel Brand New did an excellent job providing a more genuine musical tapestry for their lyrics to rest upon. With 'Your Favorite Weapon' and 'Deja Entendu,' when the band wanted to really express themselves, the music was generally either very polished or acoustic. Not the case here. On 'Daisy,' melancholy songs sound melancholy, aggressive songs sound aggressive and uplifting songs sound uplifting. You get the picture. 'Gasoline,' 'Bought a Bride' and 'Bed' are all great examples of their music finally supporting their lyrical content.

For all you old school Brand New fans, I'm not sure if you're going to enjoy this. There aren't any true singles on this disc and the album as a whole is very interpretive. However, if you are open to change and evolving your musical palette, this album is definitely for you. It might take some patience and an open mind, but 'Daisy' is for the music listener that 'gets it.'

Tracks

1.) Vices

2.) Bed

3.) At the Bottom

4.) Gasoline

5.) You Stole

6.) Be Gone

7.) Sink

8.) Bought a Bride

9.) Daisy

10.) In a Jar

11.) Noro

WK22 - Phish - Joy (3)

Released - 9/8/09

Label - Jemp Records

BLURB - A truly amateur effort from veteran jam band Phish has myself questioning, what was the point of this release? With over four years passing since their last (also abysmal) release, 'Undermind,' and various solo projects taking place, one would think that the quartet reuniting for a new release would bring some new creativity and ideas to the table. Au contraire. 'Joy' is a fairly boring record that rarely travels into experimentation and fails to offer up innovative tracks like Reba, You Enjoy Myself or Guyute. Yes, I'm well aware that Phish studio records seldom take from their veritable circus of sounds and jams that their live shows feature, but you've got to do better than a collection of vanilla sounding rock tracks.

Rating - 3 out of 10

FULL STORY - Phish is my favorite band of all time. They have more or less helped shape my musical taste. I spent nearly two years fully engulfed in Phishdom, refusing to listen to any other music and compiling a collection of around 50 live shows. What sold me was the variety. Some tracks were straight ahead rock, some were jazz, some were electronic heavy, some were acoustic, some were experimental, some were forty minute jams, some were hilarious, some took me on a trip...you get the picture. If I had to pick one aspect of their music that failed to be captured on, 'Joy' it would be this variety. Given the fact that all of the band members became deeply involved in various solo projects, I was anticipating a new, fresh-sounding Phish album, with all of these new projects forging into one great release. What I got sounds like four of my Dad's friends recording some 'cool' songs in their basement.

I've noticed several media outlets calling this album, 'grounded' and 'mature.' I don't understand why using these adjectives would give merit to the record. Phish is and never has been grounded. They've been known for pushing the limits of music and sound. Phish, in my opinion, is not and should not be mature. They've been known for doing wacky songs and having fun, while at the same time creating an atmosphere for their listeners, which they could not find anywhere else...one that allows them to escape their maturity, kick back and relax. In fact, during the peak of Phish, one of their most popular songs, 'Simple,' featured a two minute vacuum cleaner solo. I consider this neither grounded nor mature, and yet this was when Phish was putting out their most renowned and influential work. Maybe it's me, but I don't get these reviews. It's like if a restaurant critic would inform his audience that a new restaurant has a really friendly staff. That's nice to hear, but I'm going there to eat, not to mingle.

What I can say for this record is that there is a great potential for these songs in their live shows. Several songs would work segueing into other tracks or becoming jams in themselves, one of which being, 'Time Turns Elastic.' This song (13:30) is a beast in it's own right, but could really become a live spectacle. Some lackluster lyrics and mundane guitar play sort of lulls the listener to sleep for the first couple of minutes, but after that the track starts sliding into a journey of sorts. It's really the only track worth mentioning. 'Time Turns Elastic' has a real, 'Divided Sky' feel to it (for the Phish-heads out there).

The rest of the album is terrible. There, I said it. 'Kill Devil Falls' will help me illustrate this. This is a straight ahead rock song that sounds hauntingly similar to, 'Chalk Dust Torture.' The former feature some uplifting lyrics:

"I step right up to the cliff side, going to learn how to leap. I stared straight into the future. Tell me what do you see? This time will be different."

The general themes and topics in this song revolve around persistence and learning to change. So yes, it's lines like these the critics are attaching themselves to and coining as 'grounded,' but coming from Trey Anastasio they are hard to follow, or more, even relate to. This obviously has some ties to Anastasio's time in rehab, but Phish became Phish well before Trey went off the deep end. Why change the formula that had worked for so many years and suddenly throw in emotion and feelings into the mix? It comes off feeling forced and unnatural. Now the latter, 'Chalk Dust Torture' sounds very much like, 'Kill Devil Falls' but with a couple more twists and turns, and lyrics that, while weird, still were relatable to their audience:

"But who can unlearn all the facts that I've learned? As I sat in their chairs and my synapses burned. The torture of chalk dust collects on my tongue. Thoughts follow my vision and dance in the sun. All my vasoconstrictors come slowly undone. Can't this wait 'til I'm old? Can I live while I'm young?"

'Joy' plays like a journal of ideas and thoughts Anastasio had while finishing up his rehab. Ideas of rebirth and doing the right thing fill the album's ten tracks, making in that sense, a sincere and mature effort to push Phish's music further. The hard part here, is that Phish can't go any further. They've been the greatest, most fun-loving and experimental band out there for the last twenty five years. I don't see the logic in trying to switch up their formula for success so late in their career. The songs have the potential to be decent live, but on, 'Joy' they are just far too boring, uninspired and unimaginative for me.

Tracks

1.) Backwards Down the Number Line

2.) Stealing Time From the Faulty Plan

3.) Joy

4.) Sugar Shack

5.) Ocelot

6.) Kill Devil Falls

7.) Light

8.) I Been Around

9.) Time Turns Elastic

10.) Twenty Years Later

WK13 - The Dead Weather - Horehound (4.5)

Released - 7/14/09
Label - Third Man / Warner Bros.

BLURB - Meh...I'm indifferent on this. But I'll say this...this is what music should be. The Dead Weather formed after an impromptu jam session. The four-some then, without haste, decided to write for three weeks, record the album, and release it. Now that is the good life. The supergroup known as, 'The Dead Weather' brings together members of The White Stripes, Queens of the Stone Age, The Raconteurs and The Kills. It's certainly a different look and feel with the band's most recognizable face, Jack White, positioned squarely behind the drum set. The record is fairly straightforward rock with some indie and more alternative wanderings. I'm sure, just based on the clientele, I should say this is amazing and rock is back, but Kings of Leon already brought rock back. With that being said, this isn't too terrible (but still terrible) and there are some awesome tracks on here, but you're going to have to skip around to find them...

Rating - 4.5 out of 10

FULL STORY - 'I Cut Like a Buffalo' is easily the best song on the record. Massive organs flood the verses and choruses and for some reason it provides me with a sped up rock interpretation of reggae. The organs jab at the beat and offer up a sweet little riff every 20 seconds or so. 'Treat Me Like Your Mother' is another solid track with heavy guitars lines and an outstanding bridge. The whole song is about being manipulated and tricked, as a child would attempt to do to his mother, see also the verse, 'Look me in the eye now, you wanna try to tell a lie? You can't and you know why? I'm just like your mother.' This sounds amazing coming from a fiery Alison Mosshart (The Kills) and I'm convinced to be on my best behavior now. There is so much energy and forward momentum to this song, it's very captivating. After the bridge there is a very brief and simple, yet tantalizing solo that adds another dimension to the song, as short as it may be.

'New Pony' is also fairly noteworthy. It should be known that I regard any song that opens with, 'I had a pony, her name was Lucifer' to be noteworthy. Some vintage fuzz guitars add a 60's vibe to this track and really feels like it could be a Janis Joplin tune. 'Bone House' follows up 'New Pony' and does so nicely. We get our first shot of what sounds like a synthesizer here, along with screeching, high pitched guitars. Mosshart shouting vocals, only makes the song more dynamic and raw.

What's sad is that aside from these four tracks, I find the record unlistenable. There is so much dabbling and experimenting, and there are very few specific instances when you can actually hear the four of them click. I understand that this is pretty much an experimental record to mess around with some friends, but with Jack White I expected a little bit more. Once, '60 Feet Tall' starts it's a pretty good opener to the disc, but it takes forever to get going, and then abruptly loses all of it's steam as it goes into, 'Hang You From the Heavens,' which fails to go anywhere. 'Hang You From the Heavens' is the same two riffs over and over and over again, stretching the definition of redundancy to it's ends. The same can be said about, 'So Far From Your Weapon.' To me, it's just boring. The whole tracks is just drums, with very limited instrumentation, and really prevents the listener from playing the record without skipping forward.

'Rocking Horse' and '3 Birds' continue the monotony with the latter being lyric-less. As the album draws near it's conclusion, the audience will certainly be looking for a closing track that will knock their socks off...we've been waiting long enough. Predictably, this doesn't come. 'Will There Be Enough Water?' finds itself lost in a painfully slow fusion of country, rock and blues. As it approaches the seven minute mark, it seems like the track will never end, but alas it does, when I hit the stop button after four dreadful minutes.

If you have an extra ten bucks laying around I would not recommend buying this record. Get a six pack of Dogfishhead Ale, it's a more sound investment. 'Horehound' will likely get positive reviews for being experimental and having a 'nice' fusion of sounds. Anything that is associated with Jack White will be ripe for critical acclaim, as it should, he's a genius...just not on this record. Definitely check out some of the songs and decide for yourself, but as an avid enthusiast of just about all music genres, I found, 'The Dead Weather's' debut disc to be a tough listen and difficult to get through in it's entirety.

Tracks

1.) 60 Feet Tall

2.) Hang You From the Heavens

3.) I Cut Like a Buffalo

4.) So Far From Your Weapon

5.) Treat Me Like Your Mother

6.) Rocking Horse

7.) New Pony

8.) Bone House

9.) 3 Birds

10.) No Hassle Night

11.) Will There Be Enough Water?

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

WK4 - Black Joe Lewis & the Honeybears - Tell 'Em What Your Name Is! (9.5)

Released - 3/17/09

Label - UMG Recordings

BLURB - I stumbled across this the other day while looking at some noteworthy releases of 2009. I listened to one song and thought there was a mistake, because this sounds like it is straight out of the '60's or '70's. Old school blues, R&B and soul just pour out of this thing in every direction. The record as a whole is amazingly clever and refreshing. The only downside to Black Joe Lewis & the Honeybears though, is I can't really see any staying power. I think they could catch on and be a nice little story, but they are never going to rise to any sort of prominence or major fame. I don't really care about that though...this shit is awesome.

Rating - 9.5 out of 10

FULL STORY - Sometimes music is meant to be interpreted, translated and analyzed by the listener. Artists are often criticized for having a 'nice' release, but lacking any depth or layers to the recording. And while it is considered somewhat sophisticated to produce an album that really forces the listener to think, hear and observe the inner workings of the recording - sometimes I just want good music at face value. 'Tell 'Em What Your Name Is!' is so pure and original, it really makes me want to stop listening to Animal Collective. This record really doesn't need any elaborate review or explanation for being great, it just is.

The music on this album is easy to enjoy and filled with great blues riffs, tempo changes and peppered with flashes of motown and funk. I've never really been a big blues guy, I get bored with hearing the same I-IV-V progression and long-winded guitar solos. I get it. To me this has been done ad nauseam and is all too predictable. What's so unique about this record is it is 100% blues without the typical blues chord changes and solos. There is really only one song (Bobby Boshay) that portrays a resemblance to the standard blues number. However, this tune is full of energy and the solos are short and to the point, without becoming monotonous. I, like most people, have a short attention span and Black Joe Lewis really works to keep the listener involved. With the exception of jazz, I prefer music that has a higher ratio of 'riffs' to 'solos.' It's just easier on the ears. The riffs on this record alone on guitar and bass would be catchy, but there is also a full horn section and great keyboard work accompanying them. When this instrumentation gets locked in, it's almost impossible not to dance or at the very least, tap your foot to. To match this energy, the album is filled with amazing choruses that never wear out their welcome.

The other great part of this record is the lyrics. There isn't anything left to the imagination. It's like Joe Lewis is casually talking to the listener for about 35 minutes with a rhythm section. Topics range from being broke, to getting drunk, to forgetting the names of girlfriends. I also have a sneaking suspicion that the band went into the studio with no lyrics and just kind of 'winged it.' There seems to be several, what appear to be, impromptu dialogues and shouts going back and forth from Lewis and the Honeybears. Perhaps, the best track on the album (in my opinion) is 'Get Yo Shit.' Every aspect of this record that I just detailed is present on this number. The verses are varying, spoken conversations between Lewis, his girlfriend(s) and the Austin Police Department, all over a soulful, retro bass line. After each subsequent verse the entire band revs up and a chorus is belted out relating to that particular verse. Even though it clocks in at a mere 2:49, 'Get Yo Shit' captures the essence and raw nature of the band.

It's worth mentioning that despite being a noteworthy release, 'Tell 'Em What Your Name Is!' has received some less than glamorous reviews. Several writers have written the Honeybears off as a gimmick, trying too hard to imitate their soul and blues influences. In response to that I would just have to say, take Black Joe Lewis & the Honeybears for what they are. The second you try to analyze and break down this band, you take away any objectivity that you entered room with. Don't think too hard about this one...crack open a PBR and enjoy it.

Tracks

1.) Gunpowder

2.) Sugarfoot

3.) I'm Broke

4.) Big Booty Woman

5.) Boogie

6.) Master Sold My Baby

7.) Get Yo Shit

8.) Humpin'

9.) Bobby Boshay

10.) Please Pt. 2

WK3 - Cage the Elephant - Cage the Elephant (9)

Released - 3/24/09

Label - RCA/Jive

BLURB - The reviews from South By Southwest were spot on. This record is bursting with energy and it's easy to see why this was one of 'the' concerts to attend in Austin. Don't be surprised if Cage the Elephant really takes off this year...they've conquered SXSW and have Bonnaroo, All Points West and Lollopolooza quickly approaching on the horizon.

Rating - 9 out of 10

FULL STORY - One of my favorite things to do every year is read all of the articles that come out of the SXSW trade show. Whether it's business related or artist related, I really don't care, everything seems to be so fresh, original and insightful. SXSW usually sets the scene for the year to come in music and provides us with what seems like limitless information and access. Compare it to getting insider information or confidential stock advice, but it's music - and it's not illegal. One article of such was published in Billboard Biz and described the rising 'Cage the Elephant' as the, 'Best Band That Met Pre-Conference Hype.' The article also references the, 'Best Celebrity Sighting,' going to Michael Cera (Superbad, Juno) for being right smack in the middle of the Cage the Elephant show. The Billboard Biz write-up briefly compared their sound to that of The Vines, but better. To me this is a fairly broad reference point.

Trying to describe this record is both simple, yet impossible. Let me preface this attempt to label Cage the Elephant, by characterizing their music as one simple thing - rock and roll. This description, though, begs the question...what kind of rock and roll? When I first listened to the record in its' entirety I tried mainly focusing on the Vines' comparison, and trying to see what was being done that was in fact, better. You can definitely hear The Vines and it is definitely better. If you keep listening, you can also hear The Rolling Stones. You can hear the Red Hot Chili Peppers and The Mooney Suzuki. You can hear Sublime. You can hear The White Stripes. You can hear The Kinks, but also hints of Beck. The outro to 'Tiny Little Robots' sounds like something off of Pink Floyd's - 'Dark Side of the Moon,' while 'Free Love' sounds like a modern version of 'Fire' by Jimi Hendrix. It really is a harmonious blend of classic rock, pop, indie, blues, punk and soul, that when done correctly results in near perfection, namely Cage the Elephant.

The other area of this record that also is fairly obvious to point out is the energy and rawness that is present throughout all eleven tracks. Like a painting that jumps off the canvas, or a story that leaps off the page, 'Cage the Elephant' unassumingly blasts out of the speaker. The record looks, sounds and feels completely natural. This unforced, free flowing movement allows the listener to enjoy the music void of any disruptive or extraneous material. The lyrics aren't overly substantive or complex, and I really don't think they should be for this type of sound. It's your basic, 'we're here, if you don't like us - tough shit.' Throw in some sexual innuendos, chaos, and a handful of catchy hooks, and this stuff pretty much writes itself.

Tracks:

1.) In One Ear

2.) James Brown

3.) Ain't No Rest For The Wicked

4.) Tiny Little Robots

5.) Lotus

6.) Back Against the Wall

7.) Drones in the Valley

8.) Judas

9.) Back Stabbin' Betty

10.) Soil To The Sun

11.) Free Love