WK24 - Delta Spirit - History From Below (9)

Released - 6/8/10

Label - Rounder Records

BLURB - It's fun to root for the underdog. It's rewarding when you can see true talent flourish. Delta Spirit arguably have been one of the hardest working bands in America over the last few years. They've released two albums in two years, have toured relentlessly and even found time to get iced. On "History From Below" it appears all of that work has paid off, as Delta Spirit offers up a more refined, mature and evolved sound. Gone are the gimmicky riffs of the 'Trashcan' days, as they have been replaced with more traditional compositions that provide a musical forum for the band to show off their San Diego rock roots. "History From Below" is beautifully balanced with anthemic indie rock tracks and elegantly composed, self-reflecting acoustic ballads, subtly informing their audience that they're no 'one-trick-pony.' This is one of those albums that will definitely grow on you...so I strongly advise you go pick it up now.

Rating - 9 out of 10

FULL STORY - I met lead singer and guitarist Matt Vasquez in the bathroom at Brooklyn Bowl about a month ago during Cherry Lane's 50th Birthday Bash. With about four beers in my system, I felt compelled to tell him how great some of the new songs sound and he eagerly discussed the recording process and how proud Delta Spirit was of the new record. The conversation then shifted to different music venues we like in NYC, the fact that Park Slope is his favorite neighborhood in Brooklyn and that they actually just finished shooting the initial footage for the video for Bushwick Blues two days earlier. That fifteen minute conversation in the bathroom was enough to make my night, but it didn't stop there. He went further and invited some of us to bowl on his lane with his friend Johnny Corndawg, which was also adjacent to where John Legend happened to be bowling. I'm still in disbelief, and I still feel bad that I ended up beating Matt by one pin in the tenth frame. What a dick.

On to the actual album. "History From Below" begins with one of the better opening tracks I've heard this year in '911.' The song is a bouncy acoustic number that is filled with Americana references, background harmonies and lyrics that reflect on everything from the economy to, predictably, 911. Make no mistake, this isn't an 'oh my god, the World Trade towers are gone' song - but it does a great job identifying and relating to the struggles and tragedies of the common man through some cleverly insightful lyrics, and is presented in a sarcastic, yet uplifting tone.

"Back east they said the market's fine. I heard that before 1929. When black Tuesday comes it'll be a hit, right out of the air in to the pit. 'There's one out now' said the President. World War Three will make the bull horns bend. All the old boys said they could make it last, like Vietnam without a draft. We got the best in the biz for the marketing. We'll turn the Marlboro Man into a marine. The brave youth will come from far and wide, with 911 as their battle cry."

'Bushwick Blues' is the second track and lead single to the album...and it does not disappoint. Filled with heavy bass lines, crushing drums and reverb-filled guitars the song takes on the necessary repertoire for that great indie-rock song. The lyrics are much more self-inquisitive and powerfully delivered with emotion and conviction by Vasquez as he focuses on that 'girl that never was.' The sing-along-ability to 'Bushwick Blues' is off the charts. I've found it impossible to not mouth lyrics on the L train to work as Vasquez belts out:

"Do you recall the night we took the L out into Bushwick? It was colder than hell."

The track is catchy, but not gimmicky. It's heavy, but not overwhelming. Everything is properly delivered and proportioned into this amazing indie/rock/folk track that really demonstrates just how accomplished and talented Delta Spirit is.

'White Table' begins with just tapping drum sticks and a simple guitar riff, but you can tell there is something bubbling under the surface. Perhaps purposely slow and basic, the track enters with a certain degree of caution and awareness as it slowly begins to build in intensity. Around the 2:40 mark, everything takes off like a freight train as a few carefully constructed background vocals and riffs play off of each other. 'White Table,' while simplistic in it's own right, somehow comes off with such a large and momentous feel. Each time I listen to this track I feel like I'm listening to it in a crowded arena with some ridiculous laser light show...I don't really know why.

Perhaps the most pop-influenced track on the album would be 'Golden State.' With a great keyboard riff as it's bedrock, the song revolves around the band's humble beginnings in California and their pursuit of the 'long road ahead,' while never forgetting about their roots. The track is supplemented with mild guitar riffs and chords, but remains very piano and drum heavy. With this minimal approach, the song really allows Vasquez to deliver the goods with another display of powerful vocals and passion.

'Vivian' takes the listener into a more intimate and personal setting, dealing with the loss of a Grandmother. The slowly strummed guitar chords and punctuated piano notes, mixed with the deeply personal lyrics allow for Delta Spirit to become more accessible than ever before. For anyone that has a lost a grandparent, this is sure to be a tearjerker:

"I fought for each breath as long as I could, fighting with nothing to hold. The last breath I took blew right through the wind into nothing at all. Sleep, oh sleep my Vivian, heaven is too cold without you. I'll stay right here below the clouds waiting to see heaven with you..."

Emotional and personal affectations aside, the song itself is brilliantly composed. The pace is slow enough to remain somber, but never drags on. The inclusion of a few harmonica lines gives the effect of a more bluesy influence, however the acoustic piano and background harmonies reassure the listener that this a folk song at heart.

I thought it would be tough following up "Ode to Sunshine," but really, what was I thinking? "History From Below" showcases Delta Spirit's ascension into the upper echelon of elite indie rock bands. Marked with some of the better songwriting you'll find out there, this album is filled with addicting fusions of blues, folk and rock - all of which are delivered with confidence and void of hesitation or indecision. Delta Spirit set out to create this exact record, and that's just what they've done. There may be portions that seem a bit slow for some of the older Delta Spirit fans, but their maturity and evolution as a band has clearly improved the final product. "History From Below" doesn't come with the expected 'Trashcan,' 'People C'mon' or 'Streetwalker' type songs, but rather it comes in the form of a complete album that can truly be appreciated by simply hitting play and letting the twelve tracks run.

Delta Spirit's show at Bowery Ballroom on 6/30 is sold out, but tickets are still available for their show at Music Hall of Williamsburg on 7/1.

Tracks

1.) 911

2.) Bushwick Blues

3.) Salt in the Wound

4.) White Table

5.) Ransom Man

6.) Devil Knows You're Dead

7.) Golden State

8.) Scarecrow

9.) Vivian

10.) St. Francis

11.) Ballad of Vitality

WK23 - Flying Lotus - Cosmogramma (9)

Released - 5/3/10

Label - Warp Records

BLURB - It's remarkable how we discover new music. I first heard about Flying Lotus in 2008 from a friend of mine (Kristina Hedrick), as she thought I'd be into him after reading this article in the New Yorker. At that point in my life I had fully dove into the world of electronica and was really only listening to STS9 and Eliot Lipp. Kristina figured FlyLo would be right in my wheelhouse. And so it was. But there was something different about Steven Ellison's approach to production. It was pure expression and art, translated and fixed to a record. He wasn't just pushing buttons and making beats - he was on a different level. There were no definitions, no protocol...no patterns to follow. Rather it was beautiful, atmospheric wanderings that weaved in and out of hip-hop, electronica and jazz. 'Los Angeles' drew me in and now 'Cosmogramma' has solidified myself as a lifelong fan. Prepare to be dazzled.

Rating - 9 out of 10

FULL STORY - When listening to Flying Lotus you really have to check your expectations at the door. You're not going to find any choruses, verses, or even structure for that matter. What you will find are deep interpretations and experiments with countless effects, samplers, synths, instruments and drum machines. Often times there is so much going on that it is near impossible to recognize what you're hearing and experiencing. But the results are inarguably rewarding and possess the ability to rearrange how you hear and react to music.

The album begins with a brief introduction in 'Clock Catcher' before it dives into the deep end with 'Pickled!' Here Ellison blends uptempo drum patterns with rapid jazz bass lines that casually dance around computer effects and clouds of haze. While it is one of Flying Lotus' simpler tracks, is does help ease the listener into the record with any type of sensory overload.

'Nose Art' pushes in with a much more chill beat, while blasting laid back lines of bass that establish a serious groove. It's hard to decipher what exactly is being used to accomplish these riffs, but it comes off as a very heavy, low register synth that sounds like something that could easily be incorporated into a cool dub track. The relaxed vibe on 'Nose Art' does a great job segueing into 'Intro // A Cosmic Drama,' which breezes by with light string sections, sounding like something that would run during the opening credits of a science-fiction film.

The jump out track on the album is 'Computer Face // Pure Being.' Mixing video game noises, loads of synthesizers and catchy little spacey riffs over a huge bed of bass - this track is as close to perfection as one can get. This is one of Ellison's rare tracks that does actually feature several different motifs that are constantly revisited and tweaked as the backing percussion remains anything but steady. At points, entire sections drop out completely leaving either new drum patterns or just straight blasts of synth, helping to keep the song varied and fresh. There is also something celebratory or monumental about this track as it just feels powerful and larger than life. It's impossible not to get into this one.

The madness of Flying Lotus makes a bold appearance on 'Arkesty.' After beginning with random noises and effects the song cautiously morphs into several different beings. After about thirty seconds a solo improvised drum beat appears and soon begins to mix with bop saxophone solos, which are accented elegantly by harps. Really? Who thinks of this? From here the track is struck with a few piano chords and then moves into something of dark choir chamber before it fades out. What Ellison accomplishes here is the ability to mix and remix samples of live performance and instrumentation into a creatively weird track that is anything but electronica - his supposed forte; thus showing his audience that he's more than a man with a keyboard and a Mac.

'Do the Astral Plane' comes off as a super-cool hipster lounge track. Accompanying a clap track are metallic hooks of synthesizers that quickly establish that perfect low key party vibe. As more and more weird percussive accents start to emerge, the track begins picking up pace and gathering steam. Halfway through the track some latin-tinged strings peak through the blinds, suddenly giving an entirely new feel to the original groove. From there Flying Lotus pushes into much more of a chaotic, electronic experience, while not necessarily getting rid of any of the instrumentation that has led to this point. He brilliantly finds a way to push his music through all of these twists and turns without compromising his original thoughts or ideas.

Thom Yorke drops by on the dark '...And the World Laughs With You.' If I had to describe this song in one word it would be wet. It's mysterious and just sort of floats around in mid-air creating a dark and ominous tone. It's very dream-like, almost nightmarish. The track is really an amalgamation of subtle, dark electronic tones that basically occupy the space in between Yorke's muffled lines of vocals. While not my favorite track on the album, it's definitely out-there and something unique to check out.

'Cosmogramma,' for lack of a better description, is all over the place. The record is filled with unique and clever fusions of sounds and interpretations. The precision with which the overwhelming amount of effects, samples, beats, etc. are sliced up and mashed together is almost unheard of. With each listen you hear something new, whether it be cool passing jazz tones or futuristic keyboards or simply just a crazy drum line that you didn't hear on the first take. Invariably, these new sounds and noises that continuously surface with each listen only end up positively augmenting each song.

The only possible complaint with the album is that you really have to go in with a blank slate in your head. Often there is so much going on that you can't just listen to one track and move on. This is definitely one of those records that, when you listen to it, you have to commit to listening to it...and that means about forty-six minutes of your attention. But that shouldn't be a problem.

Tracks

1.) Clock Catcher

2.) Pickled!

3.) Nose Art

4.) Intro / A Cosmic Drama

5.) Zodiac Shit

6.) Computer Face / Pure Being

7.) And the World Laughs With You (Ft. Thom Yorke)

8.) Arkestry

9.) Mmmhmm (Ft. Thundercat)

10.) Do the Astral Plane

11.) Satellliiiiiiteee

12.) German Haircut

13.) Recoiled

14.) Dance of the Pseudo Nymph

15.) Drips / Auntie's Harp

16.) Table Tennis (Ft. Laura Darlington)

17.) Galaxy in Janaki

WK22 - The Black Keys - Brothers (7)

Released - 5/18/10

Label - Nonesuch Records

BLURB - There's one thing for certain here, The Black Keys are one of America's hardest working bands. When they're not recording, they're touring - when they're not touring, they're working on solo projects - when they're not working on solo projects they're teaming up with the likes of Mos Def, Ludacris and Jim Jones on Blakroc. Busy guys. "Brothers" finds the duo mired in bit of a slump for The Black Keys. After a few successful albums, the group began to plateau a bit and seemed to coast by on their past two records. "Brothers" attempts to reestablish their gritty, blues-drenched rock that goes best with a beer and a cigarette while sitting in your garage in June.

Rating - 7 out of 10

FULL STORY - The first track to really jump off the album is 'Tighten Up,' which was produced by DJ Danger Mouse (see also Gnarls Barkley & Broken Bells). My Dad likes this track because it starts off with some catchy whistling. For the most part the track is fairly basic, prominently featuring pounding drums and up-stroked guitar chords. As the song catches a groove there is a predominant riff that accents that signature bluesy garage feel that The Black Keys have helped to reinvent over the years. As the sound continues building in depth, organs are also incorporated prior to a creative breakdown that sends the song in an entirely new direction. The track is catchy enough to win over some ears, but raw and powerful enough so as not to stray from their roots. Perfect summer BBQ music.

'She's Long Gone' kind of reminds me of something Wolfmother would create. A very slow, yet driving, riff-heavy blues track. The vocals are delivered confidently and yet with an air of indifference. The lyrics on this track match with much of the theme of the album, which rocks back and forth between women, troubled relationships and generic gripes with life.

"Her eyes are rubies and pearls and she's not made like those other girls. Her lashes flap and smack men back. Like springs they bounce off her curls."

As you can see, The Black Keys also incorporate a fair amount of storytelling and descriptive ventures into their lyrics as well. 'She's Long Gone' features some nice, mellow soloing that casually serves as an impromptu jam, apathetically wondering over the original blues rock progression.

'Too Afraid to Love' really slows down the album and works in some weird harpsichord instrumentation that kind of throws the listener for a loop. Also new into the mix, are clouds of hazy distortion that add character and age to the song which, when combined with the harpsichord, gives both an old and new flavor. The track is a bit slow for my taste and doesn't really go anywhere, but if nothing else there is a cool fusion of sound going on.

Next up is 'Ten Cent Pistol' which sounds like something I'd hear at an open blues or jazz night at some random bar. Maybe the Bluetone Cafe? The drumming is much more restrained and remains on a tight leash for the majority of the song. The subtle chord changes and riffs that quietly emerge through the song are a nice change of pace to the more uptempo and aggressive nature The Black Keys usually employ. The song is riddled with tinny guitar solos and pushes pace and energy over many of the song's bridges.

'Sinister Kid' brings back more of that raw, unfiltered garage rock vibe. The track is very groove-heavy and very easy to be lured into. The pounding drums mixed with a few simple muted guitar and bass lines proves the point that it's not always about what notes are played, but what notes are not played. This track has a lot of open space and air for the listener, allowing them to dive into the track without too many distractions.

Unfortunately, "Brothers" does fall victim to it's own vibe. Fifteen tracks is about five or six too many. Because of this, many tracks bleed into each other and become very monotonous. There is also a noticeable lack of energy and fire on much of the record as well. While certain tracks like 'Tighten Up' and 'Howlin' For You' bring the ruckus, much of the album is very, very mellow and laid back. While not necessarily a bad thing, it does present some chinks in the armor of what is supposedly one of the better garage rock bands of our time. The last four tracks on the album are also noticeably slower and even draw comparisons to some of the slower tunes from Creedence Clearwater Revival.

This being said, that album is still good enough to stand on it's own too feet. You just might not be able to make it through the whole record without skipping ahead or taking a break. But nonetheless, another decent summer album.

Tracks

1.) Everlasting Light

2.) Next Girl

3.) Tighten Up

4.) Howlin' For You

5.) She's Long Gone

6.) Black Mud

7.) The Only One

8.) Too Afraid to Love You

9.) Ten Cent Pistol

10.) Sinister Kid

11.) The Go Getter

12.) I'm Not the One

13.) Unknown Brother

14.) Never Gonna Give You Up

WK21 - LCD Soundsystem - This is Happening (9)

Released - 5/18/10
Label - DFA LLC



BLURB - Being that this is my first venture into the world of LCD Soundsystem, I was a little skeptical. I know the hipsters love LCD, but the hipsters also love The National. I knew I would be slightly pre-conditioned to like this album though, do to the fact at his core, James Murphy is more of a weird-synth, dance guy. Essentially, "This is Happening" is a great success. It's fun, it's danceable, it's filled with waves of synth loops and weird lyrics that ironically make for a great summer album. The only downfall would be some of the tangents the record veers of into, often focusing in on spoken word vocals that sound like something from a bad Adam Green / 3OH!3 collaboration. But in it's entirety, the album does live up to it's potential and is definitely something worth checking out.


Rating - 9 out of 10


FULL STORY - "This is Happening" opens up with 'Dance Yrslf Clean,' and a slow and varied collection of beats and percussion, maybe even some pots and pans. The first portion actually sounds like it was recorded on a four-track in Murphy's kitchen. The feel is very laid back and lo-fi as synth riffs fill the gaps between Murphy's simplistic and youthful lyrics:


"Talking like a jerk, except you are an actual jerk and living proof that sometimes friends are mean."


Clocking in around nine minutes long, the song does an admirable job at establishing a narcissistic, slow loner vibe in the beginning only to completely blow the roof off as the pace and energy blast off around the three minute mark. Heavy, heavy synth and bass lines explode out of the speakers from here on out as Murphy's energy and confidence come to the foreground transforming the track into an entirely new animal.


I guess you could say 'Drunk Girls' is the single as it's had a ton of buzz through all the blogs and viral sites. This is the obligatory track that had to be on the album. It's a bit too gimmicky for my taste. The entire song is a bouncy party track that just spits out throwaway quips and lyrics about both sexes and their lowered inhibitions. For example, Murphy gives us the gems, "Drunk girls like to file complaints," and "Drunk girls wait an hour to pee." Nonetheless, it's too catchy for people not to like it.


The third track, 'One Touch' comes off as very futuristic with it's spacey intro. As different hooks and lines of synthesizers float through the snare hits, Murphy sings (talks) in a lower register as he is echoed by a chorus of children. The song stays fairly static but in this case it's ok - the vibe that has been established is so cool that you won't care that it doesn't go anywhere. The feel is also fairly retro and sounds like something that Thomas Dolby or Devo would have constructed.


'I Can Change' keeps the whole 80's cocaine party atmosphere alive, but is done to a much slower pace. It almost feels like a creepy slow dance song if you listen closely enough. This track puts Murphy in a fairly vulnerable position as he opens himself up as he dives into his helpless habits with love, giving the song substance on an album otherwise filled with arrogance and selfishness.


"And love is a murderer, love is a murderer. But if she calls you tonight everything is alright. Yeah, we know - and love is a curse shoved in a hearse. Love is an open book to a verse of your bad poetry, and this is coming from me. But I can change...if it helps you fall in love."


'Pow Pow' brings back the arrogance and swagger that is synonymous with LCD Soundsystem. Murphy more or less reads lines of a monologue over a 70's disco beat. You'd think it would get tired or monotonous but it doesn't. The track is incredibly fun, yet equally weird - which is probably what draws you in and keeps you listening. That, and he keeps saying, "Pow, Pow, Pow, Pow." This is where some of the Adam Green references can be drawn - as Murphy just throws out weird lines that border absurd and brilliant.


"On this occasion, there are a couple of things that we know that we learned from fact magazine. One, the king wears a king hat and lives in a king house. Two, your time will come, but tonight is our night, so you should give us all of your drugs. Three, we have a black president and you do not, so shut up - because you don't know shit about where I'm from that you didn't get from your TV."


So as you can see, one of the main gripes with this album could be that it's a bit wordy and kind of out there. Personally, I think the way in which the music and lyrics are presented is done in such an entertaining way that it doesn't take to much away from the record as a whole. It's a fun collection of tracks that have dance beats, synths and keyboards that are flooded with waves of arrogant, err, cleverly confident lyrics that while absurd, remain fun and light-hearted. This should be one of the better summer albums of the year along with Delorean's "Subiza." I definitely recommend checking out "This is Happening," just know what you're stepping into though as the average song length is about seven minutes long.


Tracks
1.) Dance Yrself Clean
2.) Drunk Girls
3.) One Touch
4.) All I Want
5.) I Can Change
6.) You Wanted a Hit
7.) Pow Pow
8.) Somebody's Calling Me
9.) Home

WK20 - The National - High Violet (2)

Released - 5/10/10

Label - 4AD

BLURB - Don't really see what the fuss is about with "High Violet." I wasn't in early on The National and I haven't listened to them before this album - but at the very least wouldn't you say that gives me more of an objective opinion? Every review I've seen for this album glorifies The National is this sacred, holier-than-thou, group that simply can do no wrong. I think it's safe to say that I'm the only one on the other side. "High Violet" at it's best is boring and at it's worst makes me feel like I'm having blood drained from my body. The painfully slow pace and lack of creativity is painful to sit through, while the ominous deep vocals all but make me want to go back to Best Buy and return it. Why is this good?

Rating - 2 out of 10

FULL STORY - In much of what I've read, the indie community is raving about the lyrical content and maturity on "High Violet." The simple problem here though is that the music is virtually unlistenable. I'd almost prefer if The National released a novel - that way I could just read it. The music itself is constantly stagnant and never materializes into anything outside of a slow trickle of acoustic guitars and organs. Compounding the awfulness are the vocals...if you can call them that. It certainly isn't singing. The majority of the vocals appear as a faint spoken word dialect that is presented in the most depressing of manners.

The first four tracks, arguably all sound the same aside for the drumming patterns. I was extremely excited when I first put this on my iPod and was all set to catch the subway to work. I hit play on 'Terrible Love' and within a matter of thirty seconds I was already looking to skip ahead. I thought maybe this was the obligatory slow opening track what would become an amazing album. The entire song is a fog of distorted guitars and pianos that can't move slow enough. And as for the lyrical content - the whole song (for the most part) just repeats, "It's a terrible love and I'm walking with spiders." This is supposed to be high poetry I guess.

So I skip ahead to 'Sorrow' and I'm instantly depressed. It's slow, it has no energy, no emotion - it just kind of sits there doing nothing. I guess you could say it's kind of clever in the way that sorrow is personified through various analogies and metaphors - but I'm listening to an album, not taking part in a mandatory English class in eleventh grade.

"Sorrow found me when I was young. Sorrow waited, sorrow won. Sorrow put me on the pills, it's in my honey, it's in my milk."

So after I contemplate jumping in front of the G train that is approaching the Greenpoint Avenue stop I skip ahead. Keep in mind I've listened to two tracks already and haven't managed to get through either. "Anyones Ghost" is slightly more uptempo but equally depressing. The chords and song structure pull you down and refuse to let you do anything aside from gaze at your shoes. The lyrical content once again is fairly grim as Matt Berninger tells of his credo that he never wants to be anyone's ghost.

Skip ahead to 'Little Faith,' (see a theme developing here?) and we have another song that sounds the same as the previous three. It's at this point that I realize this album is not what I expected it to be. Maybe because I haven't been a long time devoted fan I'm not able to attach myself to the music, I don't know.

The only song I was actually able to get through on the album was 'Bloodbuzz Ohio.' Here the pianos, guitars and pounding snares actually all synch into a song that isn't half bad. There are moments where the song intensifies and you can actually feel some emotion. The song actually varies and, unlike the rest of "High Violet," is not static at all. The track also has vocals that are somewhat less robotic than the others. Maybe it's because the music actually rises to the occasion and matches the emotion that is found behind Berninger's pen.

Outside of 'Bloodbuzz Ohio' this album really doesn't do it for me. It's too boring. Too mundane. Too soft. Too slow. Too uninteresting. It's too much of everything that I can't stand about indie bands that climb to prominence for no particular reason. The National should have just released "High Violet" as a twelve chapter book and called it a day. I can't be the only one that thinks this...can I?

Tracks

1.) Terrible Love

2.) Sorrow

3.) Anyone's Ghost

4.) Little Faith

5.) Afraid of Everyone

6.) Bloodbuzz Ohio

7.) Lemonworld

8.) Runaway

9.) Conversation 16

10.) England

11.) Vanderlyle Crybaby Geeks

12.) Walk Off (Bonus Track)

WK19 - The Dead Weather - Sea of Cowards (7)

Released - 5/11/10

Label - Third Man Records LLC

BLURB - Well it hasn't even been a full year since their debut release and The Dead Weather have already released their second album. "Sea of Cowards," unlike predecessor "Horehound," appears much more calculated and mature. There is an air of confidence on the second record that can easily make you forget how forced and awkward "Horehound" was. With a year of constant touring, writing and recording in the books, this supergroup has finally transformed from a collection of friends that all dabble in different music - to one collective band. "Sea of Cowards" is filled with big guitars, big organs...big everything. Certain parts of the record sound as if they were fuzzily recorded from an arena show in the early 70's. The energy and reverb are certainly there. The lone critiques of "Sea of Cowards" can be found in the lack of song structure and versatility - but The Dead Weather couldn't care less...they're here to create their own type of rock music that nobody else is willing to, and it shows.

Rating - 7 out of 10

FULL STORY - So I was admittedly a huge detractor from The Dead Weather's first album. It was all over the place, every song sounded the same, it was monotonous, Jack White was nowhere to be seen - it just wasn't good. With "Sea of Cowards" it is very easy to see the progress and maturity that has developed in just a short period of time.

The first single on the record is 'Blue Blood Blues' and I couldn't think of a more apt title. The track is flooded with heavy, fuzzy guitar riffs that scream classic rock. Much like the entire album, this a general lack of structure - but this actually does not negatively affect the songs. Whereas most bands would do the whole "verse-chorus-verse-bridge-chorus" thing, The Dead Weather manage to keep your attention by supplying endless non-traditional sections of riffs, hooks and breakdowns. The vocals are fronted by both White and Alison Mosshart coming in the form of arrogant lines of brashness that sound as if they were taken from the streets of 1978.

"Check your lips at the door woman. Shake your hips like battleships. Yeah, all the white girls trip when they see me sing at sunday service..."

The energy and distortion from 'Blue Blood Blues' fades and transitions nicely into the second track of the record, 'Hustle and Cuss.' This track is much more laid back and establishes a very nice groove, thanks in part to a very catchy, albeit clean, guitar riff, and swinging percussion. For whatever reason, this song reminds me of The Doors. Maybe its the short punches of keyboards that are periodically injected into the track, maybe its the repeated lines of lyrics...or maybe it's even the simplistic blues-rock form that has been all but abandoned by modern rock bands of today. Whatever it is, the song draws you in and keeps you interested with spikes of intensity and energy that surface amongst this almost groovy bed of blues guitar hooks.

'The Difference Between Us' is fairly intoxicating as an almost futuristic keyboard riff emerges as the main melody. Despite being relatively calm, the song arrives at certain chaos with a myriad of distortion and effects around the two minute mark, only to resolve into itself back on to the original keyboard riff. Much like the rest of the album, the vocals are powerful and intense and flow over various b-sections in the most unique of fashions. Mosshart handles the singing duties for this track in what I think is an intelligent move. The content and even the title alone ('The Difference Between Us') evokes more force and meaning with its' lines being delivered by a strong woman's perspective.

The keyboards are out in force again on 'Gasoline' and supplemented by huge power chords. During the bridge (if you can call it that), an army of screeching and bending guitar solos come to the forefront giving a very dark and ominous tone to the track. Mosshart, once again screaming the vocals, certainly adds to the dark vibe and at certain points in the song you may fear for your life. Be forewarned.

For those traditional White Stripes and modern rock fans this will likely fail and be classified as another weird album constructed by Jack White. Meanwhile for the rest of us, there is a certain appreciation to gain in the fact that White formed this supergroup, created a sub-par debut, and still remains highly invested in their musical output. The growth on "Sea of Cowards" is very tangible and serves as a reward of sorts for those that decided to stick around. If for no other reason, the amount of experimentation and creative structures should keep even the most average of music fans engaged. If you're looking for something loud and unique, and filled with punches around every corner - "Sea of Cowards" is probably for you.

Tracks

1.) Blue Blood Blues

2.) Hustle and Cuss

3.) The Difference Between Us

4.) I'm Mad

5.) Die By the Drop

6.) I Can't Hear You

7.) Gasoline

8.) No Horse

9.) Looking At the Invisible Man

10.) Jawbreaker

11.) Old Mary

WK18 - Delorean - Subiza (9)

Released - 3/30/10

Label - True Panther Sounds

BLURB - It's about time. This was an amazing find and exactly the new band I was looking for. I had heard some buzz about Delorean after a couple of shows in NYC and decided to pop into Sound Fix to pick up the new album...I've been listening to it ever since. In my opinion, Delorean is what I always wanted Passion Pit to sound like. They simply are an indie dance-rock band that knows how to bring it. Passion Pit tends to work themselves in and out of great music and lack the consistency that 'Subiza' shows. Delorean finds a way to make every track on the album relevant - something that is incredible difficult to do. 'Subiza' is great in that, at any given point, any given song on the album could be my favorite. It's fresh, it's original and it's fun.

Rating - 9 out of 10

FULL STORY - Wikipedia states the Delorean hails from Spain, and with names like Guillermo, Igor, Unai and Ekhi I'd have to agree. With Spain, comes a fresher take on the whole glo-fi scene that's been going on in the states. Imagine Memory Tapes or Washed Out if they really polished their album and didn't add so much hazy reverb. Or imagine a Passion Pit album that had more than a handful of good songs on it.

'Stay Close' opens up the album and is filled with samples and a pulsing dance beat. The pace of the song is somewhat feverish but is balanced out nicely with smooth vocals that unknowingly slow the track down. Synth chords puncture the melodies and clap tracks and snare hits are constantly trading places. At it's core 'Stay Close' is a dance song, but above everything else it's just a great song that effortlessly reels you into listening to the rest of the album.

'Real Love' brings the tempo down just a little bit but still remains upbeat. Weird samples and effects act as a sort of gimmick to draw your ears in closer, but at no point does it become monotonous or overdone. When the song gets going the piano chords standout like a flower in the desert. The ambience and underlying synths are still there, but at the forefront of the song are pounding chords from an actual piano...who would have thought...an electronic band using real instruments.

The third track, 'Endless Sunset,' is another well done track that fuses aspects of house, electronica and indie together. The energy is contagious as the song pushes forward with a bright two-chord progression that is filled with tons of momentum. The song slows down for a bit and then transforms into a entirely new progression as the bridge takes over, providing a nice, new flavor to the song.

'Grow' finds a way to incorporate both rhythm and lead guitar. The arrangement also brings in different feeling and vibe to Delorean. The album so far was basically layers upon layers of synthesizers and keyboards and dance beats. During the verses of 'Grow' all that is featured are drums and guitars (and a few effects) allowing the listener to relax and take a break from the explosion of sounds that was going on. That being said, the choruses and bridge revert back to the waves of ambient synths, but because of the simple instrumentation on the verses, the synths and ambience that reappear are now holding that much more weight and excitement. Like dangling a donut in front of a fat guy. When he finally gets it, it tastes that much better because he was waiting for it.

'Simple Graces' is a much more funky atmosphere that features a new slew of effects and samples. However, the pace is much slower and more laid back, once again showing the versatility and creativity Delorean has with their music.

My favorite track on the album is 'Come Wander' as it features more pianos but in a downright rave environment. Everything about the track is fun and exciting and impossible to listen to while standing still. With electronic music is often very easy to 'over-do' it. I mean, there's so many buttons and cool sounds out there that it's difficult to actually sit down and say - you know what...we shouldn't put all of this in because it will get too hectic. Delorean knows when to flip the switch and gets the most out of their ideas by keeping things simple yet don't spurn their own creativity. 'Come Wander' is a great example of this because it isn't flooded with extraneous effects, yet it is still electronica enough to create this great dancehall vibe.

I've had 'Subiza' for about two weeks now and haven't been able to put it down. If you're a fan of Passion Pit, Memory Tapes or even French Horn Rebellion, you'll love this album.

Tracks

1.) Stay Close

2.) Real Love

3.) Endless Sunset

4.) Grow

5.) Simple Graces

6.) Infinite Desert

7.) Come Wander

8.) Warmer Places

9.) It's All Ours