WK47 - Deerhunter - Halcyon Digest (9)

Released - 9/27/10

Label - 4AD

BLURB - Deerhunter is quickly becoming a household name among the experimental-indie music community. I even saw them on Conan the other night. The group has been around for quite a while, releasing several acclaimed albums, but it looks like "Halycon Digest" may be their best to date. This record has the depth and space to patiently win over fans, myself included. "Halycon Digest" has an uncanny ability to produce warm, lush tones that contrast with much of the album's dark and interpretive lyrics. With each listen you hear new sounds and effects that make a listening to the album a learning process in itself. You can literally feel your musical taste evolving just by pressing play.

Rating - 9 out of 10

FULL STORY - 'Earthquake' begins the album with random computer drum beats and dark tones as a glowing acoustic guitar riff wanders around the musical abyss. As the song grows and takes shape, clouds of hazy, reverb-tinged synth continue to paint the song with a dark atmosphere. The song takes on a somewhat hopeful personality as with each crashing wave of ominous fuzz and confusion, the initial sparkling guitar riff continues to resurface.

The third track, 'Revival' has a great throwback indie-folk flair to it. The song has the obligatory modern lo-fi production values, but the chord progression is catchy enough to illustrate just how important the underlying songwriting to a track is. 'Revival' may only be two minutes long, but it has a timeless quality to it that makes the song feel both relevant and strangely modern.

'Memory Boy' is much in the same vein of 'Revival' and could be the most pop track on the album. Despite the song's bedrock being an acoustic guitar and a drum beat, the track is stuffed with bright waves of reverb, harmonicas and bells. The track feels incredibly full and large. Phil Spector is somewhere smiling right now listening to 'Revival' and admiring how Deerhunter effectively managed to incorporate so many distinct tones and instruments, with the song remaining remarkably unified.

'Basement Scene' has a charming 60's pop feel that is disguised by the incredibly lo-fi nature of the song. The vocals have a dizzying level of delay that makes the song sound like it was recorded under water. The guitar has a warm yet dark tone that conjures up youthful feelings of unrest and depression which is further complimented by the lyrics:

"Dream a little dream about the basement scene. I don't want to wake up, no. If you've seen the light turn gold, come out tonight. And we'll all get stoned - I don't want to get old."

For me, 'Helicopter' is the absolute stand-out track of "Halycon Digest." The lead guitar riff has a dazzling harpsichord effect that makes it jump through the speakers. Once again floods of hazy reverb permeate the track, mainly during the chorus as a point of emphasis. The vocals on 'Helicopter' are also worthy of note. There is an apathetic sense of defeat in the words that ironically comes off as passionate and enlightened. As each second passes in 'Helipcopter' you find yourself listening more astutely and really trying to throw yourself into the song. Musically, the song appears to have a traditional construction, but Deerhunter varies the vocals so as to never repeat the lyrics from any one chorus - creating a song that plays more like a journal entry than a song:

"My final days in company. The devil now has come for me and helicopters are circling the scene. And I pray for rest. Could you pray for us? We know he loves you the best, we know he loves you the best. The lights inside my cave...I'm tired of my cave. Oh these drugs they play on me these terrible ways. They don't pay like they used to pay. I used to make it day to day."

I really thought I wasn't going to enjoy Deerhunter...aside from hearing a couple of older songs by them, I had only really listened to frontman Bradford Cox's solo efforts (Atlas Sound), which I thought was terrible. But with Deerhunter's "Halycon Digest," there is an incredible amount of diversity to the album that forges past other indie rock releases from this year like The National's "High Violet" and The Arcade Fire's "Suburbs." Deerhunter has a subtle way of infusing color and emotion into their pieces that strangely reminds me of Animal Collective and never seems to get old. Granted some of the songs sound a bit muffled and fuzzy, but the lo-fi recordings provide a credible authenticity to the album, delivering a strong sense of character. "Halycon Digest" plays like a reading of extremely personal diary entries that were written in a dimly lit basement at three in the morning, and so to have the musical components of this album sound like they were recorded in anything but a dark basement, only further enhances the end product.

While some of the album does venture off into some back alleyways and more experimental avenues, the overall collection of songs really flourishes. I think I'd be able to live without the more stagnant and unadventurous tracks like 'Don't Cry' and 'Sailing,' but as a whole, "Halycon Digest" fails to disappoint.

Tracks

1.) Earthquake

2.) Don't Cry

3.) Revival

4.) Sailing

5.) Memory Boy

6.) Desire Lines

7.) Basement Scene

8.) Helicopter

9.) Fountain Stairs

10.) Coronado

11.) He Would Have Laughed

WK46 - Nicki Minaj - Pink Friday (4)

Released - 11/22/10

Label - Cash Money Records

BLURB - Who exactly is Nicki Minaj and why is everyone talking about her? After rising through the Cash Money ranks the last two years, Minaj is out to prove that she is the next great female hip hop artist. Recently, she displayed her talents spitting out one of the hottest verses this year on Kanye West's 'Monster.' What's uncertain is if Minaj has the staying power to prove her haters wrong, and that she actually is the second coming of L'il Kim. But if you ask me her act is all too gimmicky and so obviously prefabricated that it's impossible for her to ever become the credible rapper she's aspiring to be. That being said, she does have some great pop tracks on 'Pink Friday' lending me to believe that she should just focusing on creating solid hip hop / pop songs as opposed to trying to perfect her image as the greatest female rapper alive. That one's just not in the cards.

Rating - 4 out of 10

FULL STORY - Minaj's "Pink Friday" came out the same day as Kanye West's most recent record and I was shocked to see the amount of people picking it up at Best Buy. It seemed like everyone had it in their hand, and so I figured I better pick it up as well. I had really only known Minaj from various tracks that she had guested on, and so I was extremely curious to see what a Nicki Minaj solo album would sound like. But listening to the record only confirmed my suspicions that she really isn't anything special. Her rhymes all sound forced and the actual lyrics are overly simple, cheesy and uncreative. What does help Minaj is that she has the support of the industry, as veterans like Kanye West, Rihanna, Eminem and Drake all make appearances.

Invariably, the tracks that feature hip hop's heavy hitters bring a level of credibility that Minaj simply is too young to provide. 'Fly' (featuring Rihanna) brings with it an accessible pop influence that slowly grows on the listener. The song has a likable quality and uplifting feel to it, and is destined to climb the Billboard charts, should it be released as a single.

'Moment 4 Life' has a great party vibe and features one of the most popular new emcees in Drake. If pop culture has taught me anything, it's that people will like this track regardless of how it sounds - simply because it's Nicki Minaj and Drake. But the song actually is one of the best on the record and the duo sounds amazing as they trade off verses. The chorus, however, is very weak, but then again who cares about the chorus on a track with two of hip-hops rising lyricists.

Minaj also shines with Kanye West on 'Blazin,' a track that is uptempo and ready for the club. Synths and snare drums fill this song with a killer groove that is hard to stop listening to - although, one can't help but think that this was done as a favor by Kanye West in exchange for her dropping that insane verse on 'Monster.'

What's disappointing is that these are the only real bright spots on "Pink Friday." Much of the album is all too gimmicky and feels too much like a marketing plan. The record also has a blandness to it that never seems to entirely dissipate and making it incredibly average. 'Your Love' and 'Check it Out' are by far two of the cheesiest, annoying songs that I've ever heard. If Minaj is trying to become the best female rapper out there, by definition, she can't do songs like this. What she should be doing is more tracks like 'Roman's Revenge' with Eminem, despite how vulgar and obscene it comes off. At least she is rapping with energy, passion and conviction on those tracks. Minaj needs to make up her mind, decide what exactly she wants out of her career, and do it. Enough with the wigs and hype already.

Tracks

1.) I'm the Best

2.) Roman's Revenge (ft. Eminem)

3.) Did it On'em

4.) Right Thru Me

5.) Fly (ft. Rihanna)

6.) Save Me

7.) Moment 4 Life (ft. Drake)

8.) Check it Out (ft. Will.I.Am)

9.) Blazin' (ft. Kanye West)

10.) Here I Am

11.) Dear Old Nicki

12.) Your Love

13.) Last Chance (ft. Natasha Bedingfield)

WK45 - John Legend & The Roots - Wake Up! (4)

Released - 9/21/10

Label - G.O.O.D. / Sony Music Entertainment

BLURB - I really wanted to be able to call "Wake Up!" the best album of 2010. I've been one of John Legend's biggest fans for the last five years, and after The Roots released "How I Got Over' I literally threw myself on to their bandwagon. The Roots and John Legend doing an album together...it should be magic. But somewhere between the drawing board and the studio, the collaboration lost it's luster. The fact that "Wake Up!" is essentially a cover album of political anthems from the 60's and 70's shouldn't stop this duo from shining, right? Unfortunately, it does and really restricts the passion, fun and creativity that both acts have become known for.

Rating - 4 out of 10

FULL STORY - Sometimes it's good to have a script. It's good to have a plan and everything laid out in front of you. But when you're a creative artist, known for your passion and spontaneity, creating a cover album of outdated political and civil anthems may not be your strong suit. "Wake Up!" is mired in tepid tracks of flailing energy and forced inspiration. I know I'm not the only person that feels this way. I actually had the chance to see John Legend & The Roots perform the album in it's entirety twice (in Brooklyn & Manhattan) and each time the crowd's energy was teetering on the border of comatose. The most ironic part of this, was that at each show, the album sounded a thousand times better than the record. The musicianship was precise, the energy was up - yet the crowd was just not into it, with the exception of a few people.

When listening to the album it feels too much like sitting in the back of history class while the teacher plays some black and white film about the Vietnam War. Fortunately, 'Hard Times' comes out of the gates swinging and is the most energetic and dynamic track on the album. The pounding bass is the perfect match for John Legend's soulful voice, and is complimented by clean guitar riffs and a dazzling horn section.

'Compared to What' comes with a decent 60's rock vibe but never amounts to anything. The track feels and empty and is devoid of enthusiasm. The chorus, at first listen, sounds like it has the potential to be some triumphant orchestration, but really lacks in energy and depth. If it wasn't for the phenomenal bass riffs in the chorus, I literally wouldn't know what to do with myself.

Black Thought (of The Roots) shines on 'Little Ghetto Boy,' a song that has actually grown on me the more I listen to it. The verses have a raw and authentic vibe, courtesy of Black Thought's original style and flow. The choruses and bridges also have a distinct pop-soul feel that comes off as both introspective and real. You can really feel the passion in Legend's voice on this one.

What's troubling is that these are the only bright spots of the album. 'Wake Up Everybody' comes off as cheesy and plain. 'I Can Write Left Handed' has a gospel vibe that I just can't get in to. 'Wholy Holy' is painfully slow and unexciting. As it turns out, what I thought would be this glorious collaboration between two stars of the R&B and hip hop worlds, ultimately turns into some failed experiment that few will even remember ever happened in a couple of years. You'd really think that with the amount of ingenuity and creative brain power that The Roots and John Legend have, they would have been able to dial up something a little more dynamic - and maybe they did - but it just doesn't transfer to the record.

Tracks

1.) Hard Times

2.) Compared to What

3.) Wake Up Everybody

4.) Our Generation

5.) Little Ghetto Boy (Prelude)

6.) Little Ghetto Boy

7.) Hang On in There

8.) Humanity (Love the Way It Should Be)

9.) Wholy Holy

10.) I Can't Write Left Handed

11.) I Wish I Knew How It Would Feel to Be Free

12.) Shine

WK44 - Dr. Dog - Shame, Shame (8)

Released - 4/2/10

Label - Anti, Inc.

BLURB - For about two years I refused to listen to Dr. Dog because I thought it was one of the stupidest band names I've ever heard, even though they were from Philly. I still think that today, but I've finally started listening to them. Dr. Dog has certifiably been a part of the recent indie-folk explosion that's been sweeping the music scene the past five or so years, bringing with it the likes of Dawes, Delta Spirit and Deer Tick. Maybe that's why Dr. Dog chose that name for their band, it's got two D's in it. Aside from the obligatory D-name, Dr. Dog brings with them all of the credible chops needed to succeed in this flourishing sector of rock and roll.

Rating - 8 out of 10

FULL STORY - Much of "Shame, Shame" is filled with warm tones and great depth, giving the record a sense of honesty and sincerity. Dr. Dog employs two separate and distinct vocalists (Scott McMicken and Toby Leaman), something that is not as common as perhaps it should be. With two vocalists, the album becomes twice as diverse and covers a broader range of colors and textures that never could never be reached with just one. The music is a standard fair of electric and acoustic guitars and piano. I want to be careful with really over-labeling Dr. Dog as an indie-folk band. While this tag can certainly be argued, the band does tend to lean slightly towards more of a classic rock feel.

'Stranger' begins the album with a storytelling feel that is both organic and patient. The track does a formidable job introducing new listers (such as yours truly) to their brand of rock and roll. The music brings together multiple guitars and vocal harmonies that surface throughout each chorus. 'Stranger' never gets too heavy and casually breezes along with a sense of informality that allows the listener to drop the guard and simply listen along. The song has a relatable collection of lyrics that plays more like a phone conversation than a song:

"Twenty years of schooling, I just never learned the math. That one and one don't equal two, they often equal half. While I've tried to live the high life the best that I know how, I bought my share of debonair, parlaying it on the crowd."

'Unbearable Why' speeds the tempo up a bit and prominently displays a catchy collection of piano riffs that serve as the hook. Also contributing to the catchy-nature of the song, are a series of vocal harmonies between the band's vocalists that pop up around every corner of the track. The song also features a great bridge, which dramatically changes the pace of the song and then steadily builds up to one last chorus, lending itself an increase in both passion and conviction.

The best track on the album is 'Where'd All the Time Go?' There is a classic and timeless feel to the song that makes it instantly likable. As with 'Unbearably Why,' once again we have a great collection of vocal harmonies that help paint rich colors and tones around the lyrics. Structurally, the song is cleverly planned out and always seems to be moving in the right direction. Musically, it'ss incredibly simple, yet broken out into separate and distinct sections that never allow the listener to become disengaged. Several subtle guitar riffs and progressions help to change the pace and clearly outline portions of the song, while an underrated bass line steals the show and serves as the backbone of the track. As the song moves along you can slowly feel the emotion and sincerity growing through both the music and the lyrics:

"There's nothing to keep you from falling in love. It starts at the bottom and comes from above. Like pieces of a puzzle, like a hand in a glove. She gets dressed up like a pillow so she's always in bed. Flowers for the sick and dead. She's on the go, way too fast and way too slow. She'll turn to stone in hospitals and funeral homes. And when the tide rises, somebody sinks and is gone in the blink of an eye."

'Jackie Wants a Black Eye' has a great campfire atmosphere that is both fun and enjoyable. Tambourines and claps are that status quo on this song, while much of the vocals are sung by the entire band. The track speaks volumes to the appeal of Dr. Dog. It's loose, informal and feels like drinking some beers with a bunch of friends after work. "Shame, Shame" does run into some hurdles with a couple of their songs though. 'Station' and 'Later' are both somewhat repetitive and boring, creating two noticeable hiccups if you're trying to listen to the album straight through. Overall though, Dr. Dog's "Shame, Shame' is a pleasant surprise that will leave you light hearted and in a good mood. The only thing thats left to do is change their name.

Tracks

1.) Stranger

2.) Shadow People

3.) Station

4.) Unbearable Why

5.) Where'd All the Time Go?

6.) Later

7.) I Only Wear Blue

8.) Someday

9.) Mirror, Mirror

10.) Jackie Wants a Black Eye

11.) Shame, Shame

WK43 - Wavves - King of the Beach (1)

Released - 8/3/10

Label - Fat Possum Records

BLURB - Wavves has gotten by on potential and expectations for most of his career. He's openly dating one of the pioneers of the lo-fi indie-pop movement, Best Coast's Bethany Cosentino. And like her, Wavves' Nathan Williams was all but set to serve as the King to her Queen. But Williams lacks the drive and honestly, the talent, to ever even dream of turning into a respectable artist. His songs largely match his personality - annoying, brash and uninspired. With track names like 'Super Soaker', 'Baseball Cards' and 'Mickey Mouse' I knew I wouldn't be able to expect much, even before I listened to the record.

Rating - 1 out of 10

FULL STORY - I read a biography on Wavves several months back when he was starting to gather some buzz. The article revolved around how Williams became involved with music as a teenager by just recording himself in his bedroom with a guitar. The biography should have been just that one sentence because that is exactly what "King of the Beach" sounds like. The most poignant part of the article focused on Williams describing how nobody 'got' his sound, and how, because of that, he decided to push forward and keep creating his own unique brand of noisy surf-punk songs. Well the only reason nobody 'got' it was because there was nothing to get. What's worse is Wavves has a terrible sense of entitlement and truly believes that his songs about smoking pot and sitting on the beach are somehow breaking new ground.

Title track "King of the Beach" opens the album with Williams constantly switching the distortion pedal on and off and singing about nothing in particular. I certainly wouldn't consider this music by any definition. You could make the argument that there are some hooks in there, but that is really stretching it. If you're one of the other members in Wavves, you've got to approach Williams and tell him you just can't shout "King of the Beach" a few time in a row and call it a day.

'Super Soaker' brings with it more terrible (and now whiny) lyrics and enough power chords to fill Blink 182's entire catalogue. The song quite possibly sets back music a good century. Williams feverishly strums through a few chords while shouting into the mic, causing widespread headaches and disappointment. By the time the song ends (which is only two minutes) you literally feel dumber.

Argued to be the single, 'Post Acid' leaves much to be desired and begs the question, is this even a song? Taking the noise-rock genre label to an entirely new level, the track has no discernible musical quality and is just Williams yelling over extremely distorted guitars. You could make the point that the song does have a bridge though, because the music does slow down and Williams actually yells even louder.

I don't know how anybody could like or listen to Wavves on a regular basis. It's really just noise and some punk kid with a guitar. This noise-pop genre that has been associated with acts like Wavvess, Surfer Blood and Best Coast is based on the premise that you are essentially drowning out hooks and melodies with waves (no pun intended) of distortion and haze, creating these ironic and nuanced tracks that at their core, remain catchy and melodic - something that both Surfer Blood and Best Coast do incredibly well. Unfortunately, Wavves and Nathan Williams are still trying to figure this out.

Tracks

1.) King of the Beach

2.) Super Soaker

3.) Idiot

4.) When Will You Come?

5.) Post Acid

6.) Take On the World

7.) Baseball Cards

8.) Convertible Balloon

9.) Green Eyes

10.) Mickey Mouse

11.) Linus Spacehead

12.) Baby Say Goodbye

WK42 - Tame Impala - Innerspeaker (10)

Released - 6/28/10

Label - Modular Recordings

BLURB - After already delivering Miami Horror, Australia strikes yet again this year - giving us one of the most promising young rock bands I've ever heard in Tame Impala. Conjuring up psychedelic overtones, fuzzy 60's arena rock and subtle Brit-pop hooks, Tame Impala is already creating music that is wise beyond their years. The group has seemingly picked up the baton bands like Wolfmother and The Vines have dropped, and are sprinting through the labyrinth that is today's indie rock scene. "Innerspeaker" effortlessly bridges the gap between 2010 and 1960, revisiting the creative passion and musical exploration bands like Pink Floyd and The Beatles became known for.

Rating - 10 out of 10

FULL STORY - For the majority of the last decade, musical progression and evolution has been siphoned through wires, buttons and laptops. While there were certainly great strides in music, most of them were electronic. With "Innerspeaker," Tame Impala is earnestly trying to push music forward, but in their own organic manner, going against the 'do-it-yourself' electronic grain that has all but taken over the industry. The album itself is filled with lush colors and wandering themes that twist and turn throughout the record. The musicianship is unparalleled for a band that is in such a young stage of the career. Only enhancing their talent and creativity, is this tangible, raw and authentic passion that drives their tracks forward with force and absolute conviction. Listening to the album straight through is almost the only way to proceed with "Innerspeaker." Like a great classic rock station that just seems to be playing hit after hit, you keep finding ideas, concepts and motifs that re-surface, morphing into even richer tones and moods as you work your way deeper into the album

'It's Not Meant to Be' starts off in appropriate fashion, steadily adding hazy and psychedelic guitars until your head starts to spin. As the vocals prepare to come in, the guitars briefly drop out, and we hear the majesty that is Kevin Parker's voice. Sounding like the second coming of John Lennon, Parker's voice is intoxicatingly perfect for the music. There is an apathetic confidence and arrogance that gently floats along with each swirling guitar chord.

'Desire Be Desire Go' breaks through the dizzying, atmospheric tones of the opening track, shifting to some deserted highway where you're speeding with the windows down and the music blasting. The fuzzed-out guitars and massive waves of distortion only propel the song forward, creating great warmth and imagery. There is a naturally rebellious and youthful feel to 'Desire Be Desire Go' that reminds you of your first time listening to Jimi Hendrix.

The third track, 'Alter Ego' is another hallucinogenic trip of psychedelic reverb and screeching guitars that will freely roam through your speakers, being restrained by only the pace of the snare drum. The song spins and dances in circles, but never becomes too chaotic to bear, as the lyrics are presented as an introverted conversation, filled with echo and uncertainty:

"Said the voice from afar, don't you know it doesn't have to be so hard? Waiting for everyone else to agree might take too long. When it won't be so hard, it won't be so hard. Well it's true, yes, but you won't get far telling me that you are all you're meant to be, when the one from our dream is siting right next to me and I don't know what to do. Oh, alter ego."

One of the greatest components of "Innerspeaker" are the subtle and clever ways Tame Impala weaves hooks and melodies throughout their tracks. Both 'Lucidty' and 'Why Won't You Make Up Your Mind?' are perfect examples. The tracks are both layered with sonic rock and exploration, but somehow they retain a pop sensibility that keeps their listeners' attention and focus. Much of this is done by assembling recurring guitar riffs and vocal lines that help guide you through their cloudy maze of progressive rock. This attention to detail and awareness allows their music to be extremely explorative and colorful without ever losing anyone along the way.

"Innerspeaker" also veers off on to several side streets throughout the record. There are several instrumentals that develop and nomadically travel through your headphones, feeling almost like you're listening to Pink Floyd's "Dark Side of the Moon." Moods and environments are constantly changing on 'Island Walking' as the track sends you down the rabbit hole. The song also has a Phish-like quality to it, while never getting too jammy or tired. The track also provides a nice change of pace on the album before returning to the anthemic fuzz rock of 'Jeremy's Storm.'

If there's one thing you can take away from this album, it's that despite what some say, the passion and free spirit of the 60's is still alive and well. From start to finish, "Innerspeaker" is one of those ingenious albums that has a great sense of accomplishment, diversity and fulfillment to it. However, it is unfortunate that something as original and epic as this would come out in 2010, an era that is constantly recycling music and changing tastes daily. You can't help but think...if it was 1967 and Tame Impala just debuted this record, they more than likely would have been well on their way to the way to the Rock and Roll Hall of Fame with The Beatles, Hendrix and the rest of 'em.

Tracks

1.) It's Not Meant to Be

2.) Desire Be Desire Go

3.) Alter Ego

4.) Lucidity

5.) Why Won't You Make Up Your Mind?

6.) Solitude is Bliss

7.) Island Walking

8.) Jeremy's Storm

9.) Exepectation

10.) The Bold Arrow of Time

11.) Runaway Houses City Clouds

12.) I Don't Really Mind

WK41 - Matt Costa - Mobile Chateau (5.5)

Released - 9/21/10

Label - Brushfire Records

BLURB - I had forgot Matt Costa existed for the last year or so. Costa broke ground about five years ago after signing to Jack Johnson's label (Brushfire Records), spitting out charming acoustic pop tracks like 'Cold December,' 'Mr. Pitiful,' and 'Sunshine.' On "Mobile Chateau," Costa is out to prove that his music has matured by leaps and bounds. He's not just that guy with the guitar anymore. The production of this album is filled with warm reverb and echo-tinged vocals, creating a very old-timey, nostalgic feel. That being said, the album feels a bit forced and unnatural for Costa, and fails to reach the potential that we all know is there.

Rating - 5.5 out of 10

FULL STORY - The most noticeable difference between "Mobile Chateau" and Costa's previous works are in the tone and texture of the production. In years past, Costa was merely just an acoustic singer/songwriter, much in the vein of Jack Johnson or Matt Nathanson. On his newest record there is dramatic shift in the presentation and instrumentation of his songs. Everything from pianos, to strings, to harmonized vocals surface on the album, in an effort to bring a richer quality to his works.

'The Season' opens up the record, filled with fuzzy reverb and echos galore. Almost too much. At points there is so much reverb that it's difficult to discern the instrumentation, which is actually quite nice. The pace of the song is somewhat slow, but when matched against the reverb and background harmonies of the chorus, it creates a very dreamy feel.

'Drive' is bright and bubbly track that revolves around a great descending piano riff. The song almost has a ragtime feel and definitely does not sound like it was made in 2010. The simplicity of the song works for and against itself here, as there are really only two sections bouncing back and forth (verse and chorus). It works in that the piece is catchy enough to initially reel you in, but it never really develops into a song. It sounds more or less like a couple of pretty good ideas that were converted into a song. I think even Costa realizes this as the track only lasts 2:28.

Sounding like something The Beatles would have written, 'Witchcraft' dances around as the clear cut best song on the record. There are numerous changes in pace and intensity on the track that help fuel the song, giving it a very real energy. Guitar riffs help to outline the song and provide some great musical hooks that work in unison with Costa's vocals. But at the 2:34 mark the song transforms into this odd, mellow outro that sounds out of place and unnecessary. I'm not sure what Costa was trying to accomplish, but it really kills the song. The only reason I still think 'Witchcraft' is the best song on the album is because I just stop listening after the 2:34 mark.

'Secret' has a subtle, motown-pop vibe that will catch you by surprise if you're listening close enough. The track is strangely calming and remains fairly downtempo, while Costa's vocals are soft and subdued, almost as if he's telling a...secret. See what I did there? What's missing from this track, however, is some kind of hook. The song is orchestrated well enough so it's appealing to your ears, but there are no melodies or catchy lines that will keep you engaged.

I'm sorry to say, this wasn't the album I was hoping for from Matt Costa. His strengths over the years have been in his ability to deliver clever and witty hooks over bright acoustic guitars. On "Mobile Chateau" we really don't see any of this, and much of the album is drowned in waves of haze and reverb. The idea and the effort to make a more mature and fuller-sounding record were there, but unfortunately it comes off sounding forced and uninspired.

Tracks

1.) The Season

2.) Johnny's Love of Majik

3.) Drive

4.) Mobile Chateau

5.) Can You Tell Me

6.) Idol

7.) Witchcraft

8.) Painted Face

9.) Bleeding Hearts

10.) Secret

11.) Strings of Change

12.) Next Time

13.) Mayor Harrison