WK7 - Ducktails - Ducktails III: Arcade Dynamics (5.5)

Released - 1/18/11

Label - Woodsist

BLURB - 'Man, everyone's been buying this cd lately - I don't get it. I'm friends with the one guy and even just last year he was begging me to try and find gigs for them,' said the cashier as I bought the album. Who really knows why some bands become or don't become popular. But like the cashier said, they're just now starting to get big (at least by Brooklyn standards), so I had to check out Ducktails. What I ultimately discovered was that "Arcade Dynamics" is just another over-hyped, hipster blog-worthy release that isn't anything spectacular. Musically it sounds like Real Estate meets Panda Bear and is something mindless you can listen to in the background at work, but I'm still having trouble justifying the $13.99 I paid for it.

Rating - 5.5 out of 10

FULL STORY - Most of "Arcade Dynamics" is a collection of airy and light do-it-yourself tracks, that sound like something any of my friends could have made over a long weekend. It's not this special album that so many people are making it out to be. One aspect of the record that does come off as somewhat creative is the way in which the guitars are packaged. The majority of the songs were recorded with multiple guitar tracks going on at once. This gives the music a nice texture and warmth. Despite the lo-fi production values, the inclusion of so many varying guitar lines in each song provides a great sense of depth.

What's unfortunate, is that this depth of atmosphere and mood gets lost in a sea of redundancy. There is almost no variation on this Ducktails record. So even when you come across a bright spot, it just gets endlessly repeated until you grow sick of it.

'Hamilton Road' is one of the few songs on the record that I actually haven't gotten sick of yet. The track is extremely relaxing and mellow, and you just kind of drift off as you're listening to it.

'Killin the Vibe' is what some would say, the 'single' of the album. In all seriousness, it's an OK track, but like much of the album, becomes all too monotonous after about two minutes of listening to it. There is another version of the track out there that features Panda Bear (which is much better). Why it's not on the album is beyond me. This was also a contributing factor to the hype of Ducktails. Everything Panda Bear touches usually turns to gold (see also collaborations with Atlas Sound and Pantha du Prince), so once word got out that Ducktails and Panda Bear had done a track together...basically everyone rushed out to get their hands on the album.

"Ducktails III: Arcade Dynamics" is nothing short of lackluster. If you're thinking about maybe picking it up, I'd probably advise to just download 'Hamilton Road' and the Panda Bear version of 'Killin the Vibe.'

Take a listen to 'Hamilton Road.'

Tracks

1.) In the Swing

2.) Hamilton Road

3.) Sprinter

4.) The Razor's Edge

5.) Sunset Liner

6.) Little Window

7.) Killin the Vibe

8.) Arcade Shift

9.) Don't Make Plans

10.) Art Vandelay

11.) Porch Projector

WK6 - Mister Barrington - Mister Barrington (9)

Released - 1/17/11

Label - Mister Barrington

BLURB - Sometimes the best music out there inexplicably finds it's way to you. Whether it was initially a track you saw on someone's playlist, a song you heard as you walked passed a co-worker's cubicle or a great opening band you had no intention on seeing. If you're a music person, good songs and bands will somehow find their way to you - as is the case with the virtually unknown Mister Barrington. It may have been shear luck and happenstance on how I came in possession of their debut album, but clearly it's no coincidence. The record sparkles with stellar musicianship and creativity. Rarely will you find a track that is anything less than dynamic, meticulously structured or entertaining. Mister Barrington seemingly takes everything out of the pantry for this release, carefully blending jazz, electronica, funk, pop and r&b into a meal that is best served with the volume up.

Rating - 9 out of 10

FULL STORY - My roommate, who is also my co-worker, came back from lunch a few weeks ago with "Mister Barrington" in hand. He said, 'you won't believe this, but I just ran into Owen on the street and he had just gotten a bunch of these albums made - they're from some side project I guess.' So almost immediately we posted them on our shared hard drives and forwarded them around to some other friends at the office. Almost every response was, 'woah - what is this?!' That was really the question of the day. Much of the rest of the afternoon was spent analyzing this album and I think we finally settled on calling it the end result of a night of recording with Medeski Martin & Wood, John Legend, Dam-Funk, Lotus and T-Pain.

Weeks later, I'm still listening to it ad nauseam. The album is really all over the place and is constantly genre-hopping from one song to the next, while for the most part, keeping a steady foundation of laid back jazz and electronic grooves. It's extremely tough to put down, as with each listen you're hearing new sounds, effects and progressions. Aside from all of this creative chaos, what jumps out when listening to the Mister Barrington are the vocals - which are entirely crafted via auto-tune / vocoder... whatever you want to call it. So after I listened to one song, I was immediately like, 'what the hell is this cheesy auto-tune doing on here,' thinking it was just for one song.

At first I was kind of hesitant to offer the album it's just credibility due to the vocals, but I'm starting to hear how well it compliments the music. The auto-tune fad of the past decade really set hip-hop and pop music back. Instead of writing the best music they could and working with great vocals, auto-tune was used basically as a crutch to turn terrible singers into cool robot-voiced hook machines. Mister Barrington takes this auto-tune notion to a more practical approach. The band, in all seriousness, operates without any strict musical guidelines or boundaries. So it shouldn't really come as that big of a surprise that the album operates with mostly electronic voicing. Ironically, this process turns out to be a huge compliment to the music which, while heavily influenced by jazz, is filled with electronic and digital accentuations. Mister Barrington has the capacity and ability to blur the lines between not only genres and moods, but even the definition of what a song should sound like. The digital voicing allows the group to also blur what is meant to be a 'vocal' with the actual music, riffs and harmonies. The end result turns into a record that is ambitious, experimental and clever - three adjectives that every band should strive for.

For me, the second track, 'Running Away' is what really turned me into a fan of Mister Barrington. The song begins with a breezy piano introduction that reminded me of something John Legend would write. Seconds later, this ephemeral intro fades as distortion and effects build up to a head - turning into what would become the actual song. What gets spit out into the speakers is a funky, electronic groove that is immediately likable. Floods of organs establish a jazzy background while the vocals create an early 2000's hip-hop vibe (sans rapper). The drums and bass are locked tight and play off of each other extremely well - there are variations, fills and runs creating almost a conversational feel in the background of the song. As the track runs it's course, the pace, tempo and instrumentation continuously morph in and out of different colors and moods. On top of all of this, 'Running Away' has hooks and riffs throughout the verses, chorus and bridge turning the track into what I'm calling a non-traditional pop song. It's impossible not to fall in love with this song - it really has everything.

I couldn't imagine calling 'Mrs. Waters' Shopping Trip' by any other name. It's perfect theme music. The vibe is a mix of old and new school, set to a walking pace of relaxing pop and jazz. Permeating the minimal groove are tons of effects, dialogue and cool little sounds. While the main foundation of the song is gentle and airy, the instrumentation and pace vary...you can tell the track is gaining steam and momentum for some kind of powerful climax. We're teased around the 1:30 mark with a brief break that eventually turns back into the original progression. However, the song continues to build towards something and around the 2:50 mark you know something is bubbling under the surface. Finally we're met at 3:20 with the culmination of every thing the song had been moving towards - an extremely creative and powerful outro that's comprised of auto-tune vocals, a slew of more effects and background noises. What's great about the outro, is that the original progression that had been wandering around for the past three minutes is still used, but reworked into a newer, dynamic version.

'Losing My Mind' sounds like something Dam-Funk would have written. For whatever reason, this song has a real 'west coast' feel to it. I don't know what makes me say that, but it's what I'm hearing. The track has the potential to be commercial smash in some other world. The songwriting is incredibly pop yet does have some kind of tangible edge to it. The chorus and bridges have a large, full sound that engulfs the listener. It's very easy to just throw yourself into this song. One of the later bridges sees the song using many of the same riffs, but set to a steady diet of piano and even some horns. Again, this is what really makes Mister Barrington amazing - their creativity and willingness to vary the tempo, construction and instrumentation of their songs without ever compromising the song itself. Every variation or tangent they veer off on to, almost always works.

'Losing My Mind' eventually fades into 'Slippery Rail Conditions' where a silky smooth groove grabs your attention. Here it's the piano and bass that really lock in with each other. Different riffs and motifs are effortlessly bounced off of one another - showcasing the band's musicianship and precision. By the end of the track, it feels like you're sitting in some lounge listening to a great jazz open mic and everybody is clicking. The piano feels warm and inviting, as the bass maintains the groove while constantly throwing in some clever licks, courtesy of Owen Biddle.

I really don't know what will come of Mister Barrington or where they will go. Their debut album is both ambitious and adventurous, and could prove to be something of a barrier to get through. But for those that do push through and jump in, you're rewarded with each listen. Mister Barrington is that creative and fun album you've always been looking to find while digging around in someone's crate of music. You may have to throw your expectations out the window and take a risk, but it's worth it.

Can't embed it, but check out 'Mister Barrington's Daydream' here.

Tracks

1.) Place in My Mind

2.) Running Away

3.) Mister Barrington's Daydream

4.) Interlude One

5.) Wrong Number!

6.) Don't Wanna Be

7.) Mrs. Waters' Shopping Tree

8.) Interlude Two

9.) Losing My Mind

10.) Slippery Rail Conditions

11.) When I Go

12.) On a Journey

WK5 - Millionyoung - Replicants (5)

Released - 1/1/11

Label - Rix Records / Old Flame Records

BLURB - I had completely forgot about Millionyoung since I last saw them play during CMJ last October. I remember the singer mentioning that they were recording some new stuff, but that information got lost somewhere in the dark caverns of my brain. For those they don't know Millionyoung, they are one of the more established DIY lo-fi electronica groups of the past year or so. Clearly, this is right in my wheelhouse of musical tastes, and their performance during CMJ was amazing. The problem though, is "Replicants" seems to be a bit of a misstep. The vocals seem 'off' on the entire album, and much of the tracks sound like throw away filler material. Granted, for the most part, the music is unbelievable. It's varied, creative and atmospheric while not straying away from the natural dance-ability of Millionyoung's sound. But the vocals and lyrics absolutely sandbag this album. I'm giving this album a 5, but I can't help but think that number would be 2-3 points higher if there were no vocals at all.

Rating - 5 out of 10

FULL STORY - In all fairness, I'm a big fan of Millionyoung. I got tickets for their Mercury Lounge show next week the day they were released. Whenever they play in my area, I'm more than likely going to their show. They're fun, have good energy and are very tight. The best part of their act, is that they really are a true band (ala the route Toro y Moi is moving in). I don't know what it is, but having a band up there with you is 1,000x more interesting than just someone with a laptop.

"Replicants" begins with a modest introduction ('Obelisk') that flows right into 'Cosmonaut.' While it does take some time, 'Cosmonaut' definitely finds some spacey grooves. The track is moderately slow, but it feels like the right tempo. It's laid back, relaxing and very breezy. As for the vocals, they are few and far between, and are basically used with delay to create more space and atmosphere to the track.

'Easy Now' showcases some of the better music on the record. Waves of fuzzy synth chords create the mood, while a great bass line, wah-guitar and some higher pitched synth lines are gelled together nicely. Then the vocals come in. You'll just have to listen to them. They completely clash against the music. They're emotionless, painfully slow and more often than not, out of key. What's unfortunate is that the music on this song is so good - the vocals completely take away from it. At the 2:19 mark, a bright collection of strings and electronica effects come in and you're just thinking to yourself...man, this should have been an instrumental.

The fourth track, 'On-On' begins with a cool vocal sample loop that eventually fades into the beginning of the song. Once again, the bass lines are incredible. They sound like something off of an 80's european dance record. Electronic keyboards and synths deliver numerous hooks and riffs that keep you invested in the song. As the song continues to grow, electric guitars emerge and they too deliver some excitement. But once again, the vocals ruin this song for me. They really serve no purpose.

The best collection of terrible vocals comes on '001.' The song begins with more of a rock lean, with furiously strumming guitars. From there a bright progression of keyboard and synth chords form over the guitars, creating a match that shouldn't work...but does. Pretty impressive. So we have all of this creativity and genre blending going on, which is turning into this amazing song - but then we also have the vocals. They're terrible. They once again completely ruin another song. There's no balance, no harmony, no tone, no enthusiasm...it's brutal.

As a music listener and a fan of Millionyoung, it's all too frustrating to try and comprehend these uninspired vocals. The music is there, the talent is there...but the vocals aren't. And two out of three is not enough to get it done. It's almost as if Millionyoung never even listened to the playback of "Replicants." All the had to do was listen to a couple of the songs, have a discussion and say, 'hey these vocals aren't working out, we really need to figure something out or take a different approach.' That's it. Until then, they'll always be the group with the awesome music and terrible singer.

Take a listen to 'On-On.'

Tracks

1.) Obelisk

2.) Cosmonaut

3.) Easy Now

4.) On-On

5.) Replicants

6.) Tokyo 3

7.) 001

8.) Forerunner

9.) Perfect Eyes

10.) Calrissian

11.) Sentimental

12.) Gravity Feels

13.) Syanthropic

WK4 - Tapes 'n Tapes - Outside (5.5)

Released - 1/11/11

Label - ibid Records

BLURB - Oh what to make of this Tapes 'n Tapes? This indie-rock band has been riding an enigmatic wave of success and failure for the last four or so years. They went from being buzz-worthy, to written off as frauds, to teeming with potential to back in the dumps. Their story can be compared to a typical teenager's identity crisis in high school. Sometimes their music is hard and aggressive while other times it's soft and gentle. They are constantly working in new directions, but never know exactly where they're pointed. "Outside" is a great example of the band's struggle to find their place in the indie music scene. Some tracks feel Black Keys-ish, others are akin to Vampire Weekend - and some venture off on other random musical tangents. Their latest record has a couple bright spots, but it's still pretty obvious the band remains uncertain as to who exactly they are.

Rating - 5.5 out of 10

FULL STORY - This review may actually turn into an attack on Pitchfork, so bear with me. A few years back just as Tapes 'n Tapes was beginning to break, their latest record, 'The Loon' was acclaimed as 'Best New Music' by the music site. For those that don't know, the 'Best New Music' tag holds a certain amount of weight and influence in the industry. For many artists it's more or less a stamp of approval for an already deserving release. But for others, it's often un-merited and turns into something of a curse. Due to the alarming number of people that choose what they listen to based solely on music sites like Pitchfork, their powerful reviews can often create fraudulent fan bases and a false sense of accomplishment.

The latest example of this came with Smith Westerns' "Dye it Blonde." Smith Westerns have been a slow building indie rock band that has been subtly turning heads for the past few months (I actually gave their album an 8.5/10 a few weeks ago). It's a great record. But despite their newfound success, they were still (and are) relatively unknown by the masses. A couple weeks ago Pitchfork deemed "Dye it Blonde" as 'Best New Music.' Within a matter of days their shows started selling out and you couldn't google 'indie rock' without getting 50,000 hits claiming that Smith Westerns were the next Beatles. Maybe it's true. But where did all these fans suddenly appear from? Why do they all of a sudden (days after Pitchfork released their review) think Smith Westerns are so incredible? Have the even listened to this record in it's entirety? Are they really that familiar with their music? It's extremely curious and irritating.

And this brings us back to my theory on Tapes 'n Tapes. I really think that once some guy wrote that review on Pitchfork for them, people fell in love with the band for no particular reason. They were just blindly following their music because someone said so. And so as the years passed and people actually listened to and became familiar with Tapes 'n Tapes, they were beginning to realize they weren't as 'incredible' as some writer of a web site thought. So, the moral of the story is, have your own opinion. Music is so amazing because of how universally varied it is. Like what you like, because you like it...and that's that.

Enough rambling.

"Outside" begins with a great sense of excitement in the track 'Badaboom.' The song plays like some kind of marriage between Arcade Fire and Cage the Elephant. As the song begins the percussion, along with the music, varies and slowly builds in intensity as the track forms it's course. There is a clear sense of pace, direction and movement that provides a great sense of structure and organization. As the song progresses you find yourself becoming more invested. By the end, a barrage of furious and aggressive guitar chords form a momentous bridge/outro that will leave you sore. What a great start to the album!

So after 'Outside' we're all feeling great. This is going to be an awesome, powerful, aggressive indie rock gem. Then 'SWM' happens. All of the emotion and energy created by 'Outside' comes to an abrupt halt as you hear the sullen acoustic guitars begin to play in 'SWM.' The song is stagnant, slow and boring - never really accomplishing anything. Also, for some reason, I just find the vocals on this track annoying. I really don't know why. I can't explain it. They just seem uninspired and apathetic.

Now that we're officially on the Tapes 'n Tapes roller coaster, it'd only be fitting that they through us for a loop. The third track, 'One in the World' is a fun and ambitious track that conjures up comparisons to Vampire Weekend and Fool's Gold. Clean guitars and even some horns toss around several playful hooks and melodies that will reel in just about anyone. Aside from being a great song, 'One in the World' does raise some eyebrows. The first track was a hard hitting, aggressive indie rock daliance. The second song was basically an annoying, throw away acoustic number. And now the third song is some afro-pop adventure that, admittedly, I enjoyed. What's going on?

Sadly, but predictably, from here on out the album tends to settle into a bit of slower paced indie rock, with no real excitement or solidarity. 'Desert Plane' is repetitive, monotonous and unenthusiastic. 'Outro' (which appears in the middle of the record) is actually kind of cool. There is a distinct sense of mood and atmosphere that serves as a nice interlude and break from the album's lackluster persona. 'Freak Out' plays like the bastard child of a lo-fi punk band and Fleet Foxes. It just doesn't work. 'People You Know' is another folksy track that, but actually sounds good. The song itself is fairly anthemic. There is also some actual emotion and inspiration in the vocals that helps steer the course in the right direction, while remaining calm and airy - I'd almost liken it to something off of a Real Estate record (but more-fi). This is only to be followed by 'On and On,' what sounds like a science project that Caribou and Deerhunter concocted. It's kind of electronic, but not really...it's hard to describe. But it definitely does not fit within the confines of 'Outside,' but that being said it is pretty cool.

What you have with Tapes 'n Tapes is a constant battle of trying to figure out just who they are. For me it's too much work. It sounds like they are trying to please everyone and as a result, cover too many genres without being successful in any one of them. Their music is entirely too indecisive, cautious and unambitious. Tapes 'n Tapes might be a good listen from time to time, but they remain a band that I just can't get into.

Have a listen to "Badaboom"

Tracks

1.) Badaboom

2.) SWM

3.) One in the World

4.) Nightfall

5.) Desert Plane

6.) Outro

7.) Freak Out

8.) The Saddest of All Keys

9.) Hidee Ho

10.) People You Know

11.) On and On

12.) Mighty Long

WK3 - Tennis - Cape Dory (8)

Released - 1/18/11

Label - Fat Possum Records

BLURB - It's hard not to fall in love with the earnest and charming nature of Tennis' "Cape Dory." Filled to the brim with airy pop songs that will make us all want to run out to the beach and grab a lemonade, the record plays as a soundtrack for a trip the shore, circa 1966. Mellow, washed out guitars and vintage vocals form the core of Tennis' persona, which plays off as some kind of marriage between Best Coast and Beach House. The only thing lacking on this fun and breezy album is some kind of substance or depth. Each song sounds like it was manufactured in the same mold, providing a serious lack of diversity. That being said, "Cape Dory" is a decent throwback-pop album that will definitely help take your mind off of this crappy winter weather.

Rating - 8 out of 10

FULL STORY - The back story to Tennis is a fairly interesting one. The duo (husband and wife) sold all of their belongings after college in Colorado, to venture off on an extended trip along the Atlantic Ocean, resulting in a collection of material that would turn into "Cape Dory." Initially the duo released the song 'Marathon' as their first and only single. Music fans of every genre flocked to 'Marathon' and instantly fell in love with the casual beauty and buoyant pop sensibilities of the track. From that moment on (probably Summer of 2010), Tennis has been one of the most sought after indie bands. People wanted more. What ensued was an endless underground marketing campaign that saw Tennis being featured in nearly every music blog this side of the Williamsburg Bridge. And so this past week "Cape Dory" was finally released, but not to everyone's delight. The album comes off as hurried and uninspired. Nearly every track seems to have been concocted off of the Tennis musical assembly line, making for a stagnant and repetitive repertoire. Now, all this being said - the majority of "Cape Dory" is more than enjoyable and will strike a chord with anyone that enjoys a good pop album. But I do think the hype and lofty expectations certainly did put a damper on everyone's spirits.

'Take Me Somewhere' leads off the album and lends a bright-eyed, exciting, 'the world is at our fingertips' mood. The song seems like the perfect opener for any married couple that just left college and are traveling along the eastern coast - searching for inspiration. Much of the track is laid back, floating along without any sense of direction. The music is very minimal, consisting mostly of just drums, guitar, vocals and the occasional organ. When the chorus hits the pace does pick up and finally offers some structure.

Title track 'Cape Dory,' which has seen several different variations released, is much in the same vein as 'Take Me Somewhere.' The song begins slowly and innocently before organizing into a solid beach tune. Shade of 60's pop emerge as the vocals turn into a chorus of "Sha La La's" towards the end of the track.

The widely approved 'Marathon' doubles as one of the album's best offerings. The song is constructed around a warm and infectious bass line that carries the track on it's shoulders. 'Marathon' is also one of the album's most diverse tracks. The song varies both it's pace and instrumentation constantly, keeping the listener interested and snapping their fingers. The lo-fi nature of the song only ameliorates the vintage/retro feel that 'Marathon' is soaked in. If I played this for you and told you it was a pop hit from 1965 by a surf band in San Diego...you'd believe me.

My personal favorite on the album is 'South Carolina.' The first couple of times I heard the track I thought it was boring, and didn't really do anything. But for whatever reason this song continues to grow on me. One of the reasons, in my opinion, is the strong vocal performance - as 'South Carolina' is one of the few tracks that ventures outside of a single octave of notes. The muffled and fuzzy guitars create a great sense of nostalgia that mixes perfectly with the endearing and light-hearted vocals.

Sure, I'd like the album to have some more depth and chances. I'd like there to be more variation and creativity. I'd like for every song to not sound eerily similar to the previous one. But still, as a whole, "Cape Dory" is nothing short of an impressive debut. It's an album that you can throw on, hit play and relax to. I said this about Kisses first album and I'll say this about Tennis' - it's great hot tub music. You don't have to worry about skipping ahead, or scrutinizing the music - it's a no-fuss, no-hassle collection of summer hooks and melodies that will always leave you in a better mood.

Have a listen to "South Carolina"

Tracks

1.) Take Me Somewhere

2.) Long Boat Pass

3.) Cape Dory

4.) Marathon

5.) Bimini Bay

6.) South Carolina

7.) Pigeon

8.) Seafarer

9.) Baltimore

10.) Waterbirds

WK2 - Smith Westerns - Dye It Blonde (8.5)

Released - 1/18/11

Label - Fat Possum Records

BLURB - I had heard a little of Smith Westerns' music a couple months back and could tell they were going to have a decent 2011. With the indie-scene pretty much exhausting the lo-fi rock genre in 2010, someone had to come in and clean it up a little bit. Taking on that task, Smith Westerns usher in perhaps a new era, with their debut record filled with melodies, hooks and songs you can't help but sing along to. While the album still sounds a bit raw, you can't help but notice how tight and clean, yet uncompromisingly original it is. Think Ariel Pink meets The Thrills.

Rating - 8.5 out of 10

FULL STORY - The amazing thing about Smith Westerns, is that as of this date, none of the band members are old enough to drink. Hailing from Chicago, the band somehow conjures up tones, themes and colors that you'd expect to hear around a southern California beach. The album is incredibly breezy, bright and laid back - yet it also packs that veritable 'rock n roll' punch.

Opening the album is 'Weekend,' a smooth and gentle track that will casually float through your speakers before you know how great it is. Everything from the chord progressions to the charming background vocals are delivered with precision and grace. This song sounds like it was effortless to make, and it shows. Cleverly placed guitar riffs add character and balance to the song, and do a terrific job supporting the numerous hooks and melodies.

'Imagine, Pt 3' is filled with atmospheric harmonies and backing vocals over bouncing pianos. The song has a very warm and inviting feel to it. As with 'Weekend,' guitar lines puncture the song's ambient tone. The song is also broken up with varying degrees of intensity and force, giving the track a sense of diversity, rather than just allowing the music to muddle around in a haze.

'End of the Night' is packed with energy and makes for the perfect Saturday night song. The song opens with a smattering of screeching guitar riffs that flow in to the song's verse. As is the theme with much of the album, 'End of the Night,' does a great job switching up everything from the pace to the instrumentation. It makes listening to this song, and the album, exciting - as you never know what's around the corner. The lyrics tell a tale of a guys' night and convincing a girl to stay the night:

"We had fun, we didn't know what time it was. Close your eyes, oh girl, then I'll stay close. Don't know why the sun's up in the sky, close your eyes, oh girl. Then I'll stay close. Everybody wants to be a star on a Saturday night. Come with me baby and your eyes shine the sunlight. It's the end of the night, its the end of the night...are you gonna go home?"

Smiths Western's "Dye It Blonde" is filled with fresh musical perspectives and a genuine sense of excitement. As with the new year, there is a new level of intrigue and ingenuity that seems to bubbling underneath the surface of the music scene. And at the front of this wave is Smith Westerns. Fans of everyone from Ariel Pink, Real Estate, Woods, The Thrills, Surfer Blood and Dr. Dog will want to check out "Dye it Blonde."

Have a listen to "End of the Night."

Tracks

1.) Weekend

2.) Still New

3.) Imagine Pt. 3

4.) All Die Young

5.) Fallen in Love

6.) End of the Night

7.) Only One

8.) Smile

9.) Dance Away

10.) Dye the World

WK1 - Charles Bradley - No Time For Dreaming (6.5)

Released - 1/25/11

Label - Daptone Records

BLURB - Well, I'm back for year three of 52 Records, so why not have my first review center around some sweet soul music? Along with Sharon Jones and Lee Fields, Charles Bradley has been one of the cornerstones of the Daptones label which has been growing by leaps and bounds the past few years. The album is more or less what you would expect from the Daptones' family...vintage soul, classic pop hooks and just a little bit of funk. While the album certainly is listenable and entertaining, it can become a bit monotonous through certain stretches. But overall, yet another solid release from Charles Bradley and the Daptone label.

Rating - 6.5 out of 10

FULL STORY - Bradley's voice sounds like he's either 60 years old or he's smoked a pack of cigarettes every day since he was 8, or both. There is a raspiness and inherent sense of wisdom in his voice that somehow makes him credible. You get a sense that Bradley has 'seen some things.' That being said, Bradley really doesn't have much range or sense of harmony - much of the vocals comes off just as powerful spoken word. Despite this, Bradley still finds a way to add both color and emotion to the lyrics.

Much of the album is filled with clean guitar progressions, horn sections and classic soul bass lines. Opener, 'The World (Is Going Up in Flames)' is certainly a good demonstration of this. While the song is somewhat stagnant (no dramatic shifts in momentum or tempo), it's filled with subtle hooks and grooves. Helping to compliment Bradley's vocals are layers of background harmonies that provide some sort of balance.

'Golden Rule' sounds like it's going to be great as, initially, the pace picks up and there is a great swing-rhythm to it. However, during the verses the tempo comes to a screeching halt as Bradley enters in with his vocals. The pace and excitement returns for the chorus, which is brilliant, but all this really does is make the verses seem all the more awkward and out of place.

'Trouble in the Land' is one of my favorite tracks on the album, and it's an instrumental...go figure. The track dances around a solid groove as several different instruments enter and exit, delivering riff after riff, for about sixty seconds. Regrettably, the song fades into 'Lovin You, Baby' which is a slower track that completely kills the buzz I had just gotten from 'Trouble in the Land.'

Title track, 'No Time For Dreaming' is likely the album's strongest song. There are some elements of funk on this track that really don't surface on the rest of the record. Outbursts from the horn section, a few clever guitar riffs and some solid background harmonies is all Bradley needs to shine on this one. There's also a great little bridge/break-down around the 1:40 mark that displays the party-vibe this track evokes.

All-in-all, this is a great album of throwback soul music, and is entirely listenable. But for the most part, the album is somewhat boring in the sense that there isn't anything that really jumps out at you (aside from Bradley's vocals). There's no 'it-factor.' Even still, this album will absolutely resonate with fans of Sharon Jones, Lee Fields and even Amy Winehouse. It's really not as bad as I might be leading it on to be..

Take a listen to "The World (Is Going Up In Flames)"

Tracks

1.) The World (Is Going Up in Flames)

2.) The Telephone Song

3.) Golden Rule

4.) I Believe In Your Love

5.) Trouble in the Land

6.) Lovin' You, Baby

7.) No Time For Dreaming

8.) How Long

9.) In You (I Found a Love)

10.) Why Is It So Hard

11.) Since Our Last Goodbye

12.) Heartache and Pain

13.) Brother, I'm Down