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

WK35 - Memory Tapes- Seek Magic (9.5)

Released - 8/25/09

Label - HSR

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

Rating - 9.5 out of 10

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

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

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

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

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

Tracks

1.) Swimming Field

2.) Bicycle

3.) Green Knight

4.) Pink Stones

5.) Stop Talking

6.) Graphics

7.) Plain Material

8.) Run Out

WK34 - Neon Indian - Psychic Chasms (10)

Released - 10/13/09

Label - Lefse Records

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

Rating - 10 out of 10

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

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

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

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

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

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

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

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

Tracks

1.) (AM)

2.) Deadbeat Summer

3.) Laughing Gas

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

5.) Terminally Chill

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

7.) Should Have Taken Acid With You

8.) Mind, Drips

9.) Psychic Chasms

10.) Local Joke

11.) 7000 (Reprise)

12.) Ephemeral Artery

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

WK25 - Green Tea - Places + Spaces (8)

Released - 8/11/09

Label - Plug

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

RATING - 8 out of 10

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

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

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

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

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

Tracks

1.) Something Like This

2.) Maximum Joy

3.) Dew Drops in the Garden

4.) Cruise Control

5.) Jazzy Joint

6.) Future Classic

7.) Words Left Unspoken

8.) Porto Seguro

9.) Thinking of a Master Plan

10.) Yes Party People

11.) Eclectic Relaxation

12.) The Waiting Game

13.) Cruise Control 2.0

WK16 - Medeski, Martin and Wood - Radiolarians III (8)

Released - 8/4/09

Label - Indirecto Records

BLURB - Nobody does organized chaos better than MMW. With their third installment in the 'Radiolarians' series, 'III' does not disappoint. Everything is here from straight ahead jazz, to rock, to blues, to electronica, to some psychedelic tones. MMW tends to be all over the map with their rhythms and grooves, sometimes drifting into the world and avant guarde arena. What makes the trip into experimental jamming worth it, is when the trio comes together and clicks...it's usually amazing and validates whatever ride they just took you on. On 'Radiolarians III' there is, surprisingly, more results than I've come to expect from a MMW record. Don't get me wrong, this album is pretty crazy and goes to a lot of different places, but the listener definitely gets their moneys worth.

Rating - 8 out of 10

FULL STORY - The record starts out in traditional Medeski, Martin and Wood fashion. 'Chantes des Femmes' starts off slow with organs peppering what sounds to be like some kind of Middle Eastern beat. Then at about the 2:30 mark a great jazz piano comes in over drum groove and yields something that one might hear in the background of Charlie Brown episode. It's very in-the-key of Linus. Toward the end of the track the song gets very open and has a lot of air. This turns into a transition into the second song, 'Satan Your Kingdom Must Come Down,' which delves into some darker, unorganized piano play - not the best song that you would want to introduce a non-MMW listener to.

'Kota' is very light and again journeys outside of the states to get it's feel. The beginning of the track sounds like it is from India. I don't know how else to describe it. Pianos eventually come in and do battle with what sounds like a harpsichord and create a dissonant push and pull tone. 'Kota' much like 'Satan...' is another wildly outside the box song, filled with chaos and unrest.

The classic MMW jamming comes in with 'Wonton.' The organs sound amazing and the grooves seem endless. John Medeski always amazes me. His piano work is truly unique. In the same way you know a Trey Anastasio guitar solo, or a Jerry Garcia solo, as soon as you hear his keyboard and piano functionality, you know it's John Medeski. 'Walk Back' is also another great jam. There is almost a childish tone to this music, and it just sounds fun. I'm not convinced that a fisher price keyboard wasn't used for the opening of this track. 'Walk Back' goes back and forth between a large assortment of keys, organs and pianos, even some electronic music.

There's even more Charlie Brown-esque music on, 'Jean's Scene.' Paul Carter is somewhere enjoying this. 'Jean's Scene' is a little more experimental than 'Chantes des Femmes' but it works. The chord selection and intellect that goes into the some of the band's runs (bass and piano) is astonishing. It's very precise and rigid, yet creative and free-flowing simultaneously.

'Gwyra Mi' closes the record with some heavy bass and psychedelic organs. There's a reggae feel on this, if you listen close enough, which is countered with a fairly pop riff that permeates the tune. Throw in some wah pedals, a little digital delay and bunch of other effects and you're good to go.

This was everything I expected it to be. Medeski, Martin and Wood always bring the creative juices and regardless of where all of their chaos takes you, you always wind up enjoying the ride and the end result. No real surprises - just MMW doing what they do.

Tracks

1.) Chantes des Femmes

2.) Satan Your Kingdom Must Come Down

3.) Kota

4.) Undone

5.) Wonton

6.) Walk back

7.) Jean's Scene

8.) Broken Mirror

9.) Gwyra Mi

WK15 - Sa-Ra Creative Partners - Nuclear Evolution: The Age of Love (10)

Released - 6/23/09

Label - Ubiquity Records

BLURB - A buffet of sounds, with limitless soul, r&b, jazz, hip-hop and avant garde. This is what has been lacking from music. It's weird and strange, yet simple and to the point. Not since Andre 3000's efforts on, 'The Love Below' have I heard orchestration and composition like this. With two discs, totaling twenty-three tracks there are so many choices, possibilities and options for the listener to tune in to. If you like cookie cutter smooth r&b and typical hip-hop, you'll hate 'Nuclear Evolution.' This record really pushes the limits of so many different genres in such a relaxed motion. I can't put it down.

Rating - 10 out of 10

FULL STORY - For those that don't know, Sa-Ra Creative Partners is a three man songwriting and production posse. They've written with tons of other artists and have flown under the radar appearing mostly on mix tapes. Their work and song construction is very direct and extremely well thought out. It's blatantly obvious that they do not write material for themselves and almost prefer to stay out of the spotlight. Nearly half of this record has female vocals, yet Sa-Ra is three guys. The production of their songs are tailored to be great songs and great music. If they appear on the track, fine, but if they can achieve the sound they are striving to create through other vocalists, musicians or emcees, they acknowledge that, and get themselves out of the way. It's creating the best music they can create, even if it is for another performer. Music for music's sake.

'Spacefruit' opens the album brilliantly. This track wanders through space and open air with an uncharacteristic beat and very few lyrics. I can vision this as the opening to a movie - it works just as well opening the record. 'Spacefruit' takes off somewhere near Mars and ends up in Harlem. The second track, 'Dirty Beauty' is very chill and a great song to ride your beat up old huffy around town to. There is rapping but it is more like slow talking, to a beat. Very relaxed, with no real direction. 'I Swear' is the third track and is brilliant. There are female vocals all over the place, in the foreground, in the background, coming out of left field...all over a foundation of light jazz keyboards. The pace is slow but it works for the song. Think of this as if a producer told Corinne Bailey Rae to just relax and sing whatever came to her over a downbeat, minimal jazz-pop groove.

'Traffika' gets nice and urban for the audience. The song bashes cops constantly, but you'd never know because it's not in your face ala NWA. This is easily the most hip-hop track on the record and discusses drug trafficking and corrupt cops trying take out the new generation of intelligent, soulful urban youths.

"It's the nu-bonic plague, we gotta get away. Crooked ass cops, they comin from the blocks"

The best track to groove to is, 'Bitch Baby.' There is a really nice, old school drum beat which is countered with a very new school synth loop. This is Sa-Ra at their best. Let's take something amazing from past but then add something amazing from the present...and let's make it groove. 'Bitch Baby' is followed up by the vintage-sounding, 'Love Czars.' Another downtempo track that sounds like it is out of a history book and is also great to groove to. Right away I thought of one of my favorite groups growing up...Arrested Development. A guitar riff with the treble way up flows throughout the song, visiting both high and low registers. There aren't many lyrics with this one, but it's still great. Clocking in at nearly eight minutes, you can just hit play, kick your feet up and nod your head to the calming beat.

'Gemini's Rising,' which is more or less the song the group is pushing the most, offers vocals coming from all directions, intermingled with a bunch of futuristic sounds and effects. It's not the best song on the record, but it's easy to like, and once again, laid back. 'The Bone Song' follows this up, and no it's not about tibias and femurs. Plain and simply it's about fucking. The sex is turned on for this r&b track and features a raunchy chorus...

'Is it that I want you? Do I just want to bone you? The little things that you do, just make me wanna bone you. Girl, as long as I've known you, I've been tryin to bone you, so tell me what we gonna do...'

The award for the second coolest dance jam on the album goes to, 'Move Your Ass.' An awe-inspiring funk bass riff soars through the track at a blistering pace, with dashes of keyboards, synth and other effects. No lyrics, no raps, no background vocals...just a great, funky, experimental dance beat done to perfection. But don't worry...there are some great vocals on here too. 'My Star' features some angelic voicing, which sounds eerily similar to Corinne Bailey Rae. That is a huge compliment by the way, and further...now everybody knows my fanaticism with Corinne Bailey Rae.

The end of the record gets very funky and very experimental. 'Spaceways Theme' sounds like a futuristic jazz piano improvisation. There is also an avant guarde feel to this track. There are plenty of dissonant notes that just sound wrong and out of place, but as you listen to the song over and over again, you wouldn't change it. The next song, 'Just Like a Baby' give the audience some blues beats mixed with a very laid back funk vibe. Imagine George Clinton singing the blues in a lounge.

Embracing the auto-tune generation, Sa-Ra belts out the voice modulator for, 'Double Dutch (Co Co Pops).' This song needs to be on the radio and in clubs. It's so catchy and makes up for a lot of the energy that some of the record lacks.

The aforementioned award for coolest dance jam goes to, 'Death of a Superstar (Supernova).' I guarantee after you hear this the first time, it will be stuck in your head for a month. Very old school and disco-esque with tons of synth and great production. This is the best song on the album, and one of the better songs I've heard all year. 'Powder Bump' and 'Hanging By a String' close out the record as they should. These are two great songs that bend genres. Is it techno? Is it jazz? Is it synth-pop? Is it hip hop? Is it r&b? The answer to each question is arguably, yes. The music and production, again, is so incredibly well done that there are no lyrics, but you never even notice. There is so much going on, that with each song you inevitably get lost in them. As should be the overall theme of, 'Nuclear Evolution: The Age of Love.'

This is easily the most eclectic, modern, laid back, hip-hop, futuristic, urban, jazz, r&b record I've ever heard. That being said, I've never heard all of those categories brought together as one, before this. It's incredibly new. Get lost in it.

Tracks

1.) Spacefruit

2.) Dirty Beauty

3.) I Swear

4.) Melodee N'mynor

5.) He Say She Say

6.) Traffika

7.) Souls Brother

8.) Bitch Baby

9.) Love Czars

10.) Gemini's Rising

11.) The Bone Song

12.) White Cloud

13.) Move Your Ass

14.) Love Today

15.) Can I Get You Hi

16.) My Star

17.) Cosmic Ball

18.) Spaceways Theme

19.) Just Like a Baby

20.) Double Dutch (Co Co Pops)

21.) Death of a Star (Supernova)

22.) Powder Bump

23.) Hangin' By a String

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

WK11 - Passion Pit - Manners (9.5)

Released - 6/9/09

Label - French Kiss Records / Sony Music Entertainment

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

Rating - 9.5 out of 10

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

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

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

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

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

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

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

Tracks

1.) Make Light

2.) Little Secrets

3.) Moth's Wings

4.) The Reeling

5.) Eyes as Candles

6.) Swimming in the Flood

7.) Folds in Your Hands

8.) To Kingdom Come

9.) Sleepyhead

10.) Let Your Love Grow Tall

11.) Seaweed Song

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

Released - 5/26/09

Label - 1320 Records

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

Rating - 9 out of 10

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

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

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

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

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

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

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

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

Tracks

1.) F-Word

2.) Be Nice

3.) STS9

4.) Biggs

5.) Metameme

6.) Jabez

7.) Moonsocket

8.) Looking Back on Earth

9.) Kamuy

10.) Empires

11.) New Soma

12.) Evasive Maneuvers, Pt. 1

13.) Surreality

14.) Evasive Maneuvers, Pt. 2

15.) EHM

16.) Lo Swaga

17.) Music, Us