WK28 - Caleb Hawley - Steps (8.5)

Released - 10/1/09

Label - Who Needs a Label?

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

Rating - 8.5 out of 10

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

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

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

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

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

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

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

Tracks

1.) Small Steps

2.) Other Side of it All

3.) Final Hour

4.) Every Shade of Gray

5.) Real Vacation

6.) My Own Two Feet

7.) Gone for Good

8.) Samantha's Song

9.) Who's Your Doggie

10.) The Way it Is

11.) Fade

WK27 - Atlas Sound - Logos (6.5)

Released - 10/20/09
Label - Kranky

BLURB - I've never seen a record with such polarity as 'Logos.' I mean there really is everything here...good and bad. Over the last year or two, I dove into the psychedelic, layered, sonic-esque sounding artists that have risen to prominence, namely Animal Collective, Panda Bear and Deerhunter. For some reason I have an infatuation with groups that can create a wall of sound - whether it be through computer loops, instrumentation, vocals or other means. It's always seemed ingenious and creative to me; anyone can write a four chord song... so why not do more? Atlas Sound, in his second release, attempts to do this, yet stumbles along the way. Maybe I expected too much, but 'Logos' brilliance is short lived and can't compete with the Panda Bears of the world.

Rating - 6.5 out of 10

FULL STORY - So if it can't compete why did I give a 6.5? Well, the answer simply is, 'Walkabout.' If you can remember back to my review of Grizzly Bear's, 'Veckatimest' I stated that 'Two Weeks' was the best song of the year. Allow to me correct myself, this title belongs to 'Walkabout' the third song on this record, which features Panda Bear of Animal Collective. This is perfection. 'Walkabout' is a fusion of layered motifs and brilliant songwriting that will have trouble being topped by the year's end. Atlas Sound (aka Bradford Cox) is more or less known for being this very introverted fellow, producing somewhat somber tunes of self reflection and observation. So it's refreshing to hear such an uplifting, nostalgic song here. Parts of 'Walkabout' sound incredibly new, yet there is such a timeless quality to this track.

Another strong effort on this album is 'Quick Canal' featuring Laetita Sadier; an eight minute computer looped, background vocal filled masterpiece. The track is incredibly well-paced, never moving too quickly or slowly. Atlas Sound effectively works the piece to match Sadier's vocals, steadily increasing waves of static noise. The track is much like a train, building steam and momentum, incorporating more and more effects without the listener ever taking notice. This is incredibly difficult to accomplish - and Atlas Sound performs this task effortlessly.

Now we get into the grey area. After these two tracks, this album goes downhill in a hurry. The rest of the album is filled with monotonous, uncreative loops and imagery. In a genre of ambient music where songs can take on so many shapes and forms, 'Logos' seems boring and uninspired. Countless reviews of this album are raving about this release and I'm not sure I agree. Atlas Sound's last release was heralded as a depressing, emotion filled experience, which was giving way to a supposedly progressive new record in 'Logos.' I'm sorry...but it sounds like the same old act to me.

With the two best tracks on this record featuring outside songwriters, I find it hard to give Atlas Sound a world of credit here. Aside from 'Walkabout' and 'Quick Canal' this entire album is forgettable. Every track is filled with slow loops, monotonous acoustic guitar riffs and uninspired vocals. Several of these tracks also feature Cox manipulating his vocals through computer effects and static - creating an almost unbearable experience. Plain and simple, it is difficult to get through. The lyrics here are undoubtedly sincere but poorly delivered.

Cosby Show Segue-way!

For whatever reason, one of my favorite shows of all time was The Cosby Show and so I'm drawn to make an analogy here. In the best episode of the series, Vanessa brings home her fiance without telling Cliff and Claire that she got engaged. What ensued was hilarity. The main point Cliff was trying to get across was this: presentation. Vanessa could have brought home a doctor that made 20 million dollars a year, but she did so in a matter that was shallow, selfish and unthoughtful. Even though her fiance was a mere custodian, he was presented to the family in a terrible manner, creating an environment that was impossible to receive acceptance.

This is what Atlas Sound does. He has tons of potential and brilliant ideas and imagery, but the way his work is delivered does not accurately reflect his genius. There are too many detracting factors. Too many effects, too many musical obstacles to overcome. This is why he invites Panda Bear on the record - he knows he'll never be that good.

That being said, 'Walkabout' is the best song of the year, credit Noah Lennox.

Tracks
1.) The Light That Failed
2.) An Orchid
3.) Walkabout (With Noah Lennox)
4.) Criminals
5.) Attic Lights
6.) Shelia
7.) Quick Canal (With Laetita Sadier)
8.) My Halo
9.) Kid Klimax
10.) Washington School
11.) Logos

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

WK24 - Kid Cudi - Man on the Moon: End of Day (4)

Released - 9/15/09

Label - Universal Motown Records

BLURB - There was a ton of hype with this record. Kid Cudi's highly touted mix tapes had garnered a ton of steam. I was even lucky enough to see him live over the summer...his show was amazing with a ridiculous amount of energy. There were crazy guest appearances scheduled for this release, awesome remixes and hit singles to be found. The album even got pushed back from it's original August release date several times, just to make sure everything was set up perfectly. This should be the genre mystifying, transcendent album of the year, no? There's one thing missing on this overly marketed, much anticipated album...substance. The whole CD attempts to redefine hip-hop through this monotonous, alternative, down tempo style. It just doesn't work for me.

Rating - 4 out of 10

FULL STORY - Here's my take on this. Over the last few years there has been this sort of indie, hip-hop, alternative, rap counter-culture on the rise. When I grew up, not to sound racist or judgmental, and speaking in the most lamens of terms - but the white kids were listening to punk and skateboarding and the black kids were listening to hip hop and clubbing. Groups like N.E.R.D, Gym Class Heroes, Kanye West, Lupe Fiasco and such, came into great prominence and reversed everything. All of a sudden you had lots of black kids getting into skateboarding and while not entirely leaving their hip hop obsession, shifted their musical taste to a more alternative, skateboardy, nerdy feel. Meanwhile acts like 50 Cent, L'il Wayne and T-Pain were on a huge tear, dropping tons and tons of club hits. These mainstream names worked their way into suburban America, and all of a sudden every white kid named Zack was standing in line waiting to buy, 'Tha Carter III.' You can look it up - the facts are there. The majority of these huge star, hip hop artists (50 Cent, L'il Wayne, etc.) ended up having their highest sales come from purchases by suburban white males between 15-25.

How does this shift affect Kid Cudi? Well, he came into prominence as the landscape in music was changing. So he not only grew up on hip hop, but he also grew up on indie and punk, as did those that will buy his record. This creates a huge demographic of 15-25 year olds, that like all kinds of music. Where Kid Cudi gets in trouble is trying to appease not only his diverse musical background, but the diverse musical background of hundreds of thousands of potential consumers of his record. 'Man on the Moon: End of Day,' while extremely unique in it's own right, doesn't really accomplish anything. The whole album seems terribly slow and monotonous. Almost every song sounds alike - kind of slow, somewhat emotional, 'look at me' lyrics, with little or no rapping. It's really weird in the sense that this album kind of sounds like a spoken word novel. There isn't a lot of rapping, Kid Cudi doesn't sing, and yet there are these words and lyrics and lines flying all over the place without any real importance on their delivery.

Musically, the record sounds exactly like Kanye West's, '808's & Heartbreaks.' Some parts almost sound stolen. Here's what made Kanye's record great, and Kid Cudi's uninspiring. '808's & Heartbreak' was real, raw emotion mixed with Kanye's, 'fuck-you' attitude. West created a record filled with incredibly basic, yet creative beats and filled them with lyrical themes that really hadn't been explored in the hip hop realm. He didn't care. He was looking for the quickest way possible to get out all of the emotion and stress he was under while dealing with the death of his mother and countless other events that were going on in his personal life. His record was not marketed at all and literally took only a month or so to record and put out. It served as a time capsule for everything that he was feeling at that moment, musically and personally. It 'was' Kanye West at that exact moment.

Kid Cudi on the other hand, obviously heavily influenced by Kanye's musical evolution (he appeared on West's album), and the evolution of music in general, puts out a record that feels forced and uninspired. It's as if he made a product based on what people thought his product should sound like. He's trying to please too many people at the same time, while simultaneously trying to break into the music industry. Take it slow - focus on what your good at, and slowly refine your style.

'C'mon man...Day n Nite and Make Her Say are awesome,' - nameless Kid Cudi fan. I'll give you that one. Keep in mind that both of the songs are old. Both of these songs appeared on mix tapes and as unreleased leaks a while ago. Both of these songs stand out. However, both of these songs ('Make Her Say,' more so) don't gel with the record, as they have a more straight up hip hop feel. This is like waving a donut in front of a fat guy. Look at these awesome hip hop songs, they're awesome...now buy my CD. The whole album, contrary to the singles, is very melodramatic and sullen. He, almost inadvertently, forces all of the attention on to himself as opposed to the music.

The vibe that comes off from this record is so, 'Hey look at me, I'm Kid Cudi, I'm the man, everyone loves everything I do.' Meanwhile, he's really never done anything. I think this album is too ambitious for a debut. It tries to accomplish too many things at once, without really accomplishing anything. Yes, it's a new sound. Yes, it's pushing music in a new direction. Yes, it will appeal to the masses - but don't tell me how great Kid Cudi is. He just showed up two weeks ago, he's not hip hop's messiah. That's Lupe Fiasco. It's interesting to give, 'Man on the Moon' a couple of listens to try and see what is going on, but if you're like me, you'll end up just picking it apart. It's funny reading reviews for this, because every positive review states, 'if you don't like this, then you just don't get the scene.' I beg to differ. Maybe this artist, that every 15-25 year old indie, rap fan adores and has put all of their faith in, just flopped. Don't rationalize a poor effort by suggesting that, 'I don't get it.'

If you're looking for a true genre-bending artist that mixes urban music with alternative and indie, check out Kenna. He was featured in Malcolm Gladwell's book, 'Blink.' The chapter on Kenna revolves around how Kenna mixes all of these different sounds, is infinitely talented and yet has struggled to gain notoriety. His lack of success was blamed on the public's nature to be ephemeral, just giving a quick listen - then moving on. All the while, Kenna was accomplishing everything that Kid Cudi is currently attempting to accomplish...years ago.

And another thing...if you're going to work with MGMT, at least make a decent song.

Tracks

1.) In My Dreams (Cudder Anthem)

2.) Soundtrack 2 My Life

3.) Simple As...

4.) Solo Dolo (Nightmare)

5.) Heart of a Lion (Kid Cudi Theme Music)

6.) Day 'n' Nite

7.) Sky Might Fall

8.) Enter Galactic (Love Connection, Pt. 1)

9.) Cudi Zone

10.) Up Up & Away

11.) My World

12.) Hyyerr

13.) Alive (Nightmare)

14.) Make Her Say

15.) Pursuit of Happiness (Nightmare)

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