WK12 - The Morning Benders - Big Echo (9.5)

Released - 3/9/10

Label - Rough Trade

BLURB - First off, The Morning Benders clearly have one of the better band names I've heard over the past few years. It can literally be interpreted in about 1,000 different ways. I have my own take on what exactly a "Morning Bender" is. But for those who don't have their heads in the gutter, The Morning Benders are definitely one of the better, feel good stories of the year. Here we have a great, young band fully coming into their own on just this, their sophomore effort. As the title "Big Echo" would suggest, this record is filled with big sounds, layers and, well...echo. Despite their youthfulness, The Morning Benders appear wise beyond their age combining sophisticated melodies that will have fans of everyone from Grizzly Bear to old school Paul Anka, nodding their heads.

Rating - 9.5 out of 10

FULL STORY - Coming right out of the gates is one of the best songs 2010 will offer in "Excuses." This opening track is filled with warm colors, layers of sounds and interesting percussive elements. Comprised of mostly acoustic instruments and string sections, "Excuses" is airy enough to casually breeze past your ears, yet heavy enough to hold substance and weight. There is also a very addictive quality to Chris Chu's vocals, mixing baroque, lounge and pop styles.

The second track "Promises" is much more rock influenced, but is still filled with melodies and an indie pop sensibility. Vague comparisons could be made here to the sound of Grizzly Bear's 'Veckatimest,' especially with regards to the percussion and background vocals. There also seems to be the perfect amount of fuzz and ambient noise to accent the song and vocals.

"Wet Cement" is the first song on the album that really slows down in pace. The entire track feels like it's gently floating down a river. The drums and the bass lock tightly together during the verses, keeping the song on course in repetitive fashion that never proves too monotonous. "Wet Cement" also does a good job prefacing the more uptempo "Cold War." This fourth track is bursting with raw energy, excitement and hand claps galore. Much like "Excuses," "Cold War" sounds as if it were plucked out of the 60's. The majority of the track is merely a catchy acoustic guitar progression, but the choruses are huge. So far, this is the track on the album that I cannot get enough of, however clocking in at only 1:44, I'd love to see it go a little longer.

Another powerful song on the record is "Hand Me Downs." The track is filled with passion and emotion, yet varies in pace and intensity. This accomplishes many things, but most importantly it helps to personify the song and give it a unique character. Once again in this track we're met with the clever fusion of lo-fi haze and pop melodies - something The Morning Benders are slowly perfecting.

Big Echo drums up the closest thing to a dance number on "All Day Day Light." This track is filled with catchy riffs and hooks everywhere. The chorus turns a little foggy and chaotic, but the verses are very tight and remind me somewhat of a Phoenix-style song.

When you really sit down and listen to this record and try to critique it, you'll find it's fairly difficult task. There is so much right with this record. Everything from the instrumentation to the writing to the general feel of the album works...and sounds amazing. Do yourself a favor and buy the record - it's likely worth your $9.99.

WK11 - Broken Bells - Broken Bells (7.5)

Released - 3/5/10

Label - Sony Music Entertainment

BLURB - What happens when you combine equal parts Gnarls Barkley and The Shins? Apparently, you get Broken Bells. While this fusion isn't some kind of transcendent, ground breaking Run DMC - Aerosmith collaboration, it certainly reminds us that there are creative people out there, willing to experiment with their sound. Broken Bells doesn't really jump off the speakers and there are no real jaw dropping flashes of brilliance, but quietly this album holds it's own. If anything (likely due to the vocals) this album leans more towards The Shins than Danger Mouse and Gnarls Barkley, but fans of both should be able to enjoy this.

Rating - 7.5 out of 10

FULL STORY - In my opinion, this album seems to be an augmentation of The Shins sound, more so than anything else. I recognize the fact that the only Shins participant is James Mercer, but it seems he was able to bring some of The Shins' trademark melodies and songwriting styles to the table. Danger Mouse, on the other hand seems to merely interpret these assets, finding a way to present them in different manner. What this means is more organs, keyboards and effects. I was kind of hoping for a more hip-hop and urban-sounding record, but unfortunately this is not the case. Overall the album sounds like a very laid back and mellow Shins record. The Shins themselves are a hard band to label. Some of their songs are frenetic and uptempo, others are heavily-folk influenced, while others are straight up pop.

I was kind of taken aback when I saw Broken Bells' first single on MTV the other day. If nothing else it was just weird. "The High Road" is easily the best track on the album. This song actually finds a subtle way to mix aspects of alternative folk with synthesizers. The styles and instrumentations never directly battle each other, which makes for a seamless and pleasant ride. What does stand out on the track are the choruses. Maybe it's just James Mercer's voice, but the chorus and the ending refrain are easy to get addicted to.

"Vaporize" starts off quietly with Mercer and an acoustic guitar, but before long it is flooded with heavy, wet organs. It's a nice contrast of sounds, because Mercer's vocals are usually very light and breezy. The lyrics support the music very well, creating open themes of dreams, confusion and realization.

"What amounts a dream anymore? A crude device, a veil on our eyes. A simple plan, we'd be different from all the rest and never resign to a typical life."

"Your Head is On Fire" is a unique throwback. I can't explain it but the track really feels dated, but in a good way. There is also a cool fusion of trippy synth lines and string sections in the middle of the song, which for some reason works.

You can kind of use "Your Head is On Fire" as a microcosm for the album as a whole. There are some musical stretches and interesting interpretations, but they are few and far between. If anything - Broken Bells appears to be a calculated risk, occasionally sprinkling in some 'outside the box' colors, tones and ideas. There really isn't anything overly new or transcendent on the album...just sounds like The Shins with a twist. It's a good (not great) record, but definitely worth giving a listen.

Tracks

1.) The High Road

2.) Vaporize

3.) Your Head Is On Fire

4.) The Ghost Inside

5.) Sailing to Nowhere

6.) Trap Doors

7.) Citizen

8.) October

9.) Mongrel Heart

10.) The Mall and Misery

WK10 - Via Audio - Animalore (6)

Released - 3/9/10

Label - Undertow Music Collective

BLURB - I fell in love with Via Audio's virtually unknown debut "Say Something" a couple months back. Talk about charismatic songwriting - listening to this album was look like dating the girl next door. She was a little weird...off the beaten path...preferred the Smashing Pumpkins to Smash Mouth and really cute. But at it's core, it was good and there was a solid and sincere foundation. Built upon dual male/female vocals, catchy hooks and a confident enthusiasm about themselves, "Say Something" was an all too likable album. With "Animalore" it's not that simple. Aside from the obvious musical growing pains, the music itself seems to be consumed with uncertainty and bravado...a dangerous combination.

Rating - 6 out of 10

FULL STORY - We'll start with the track that's about sex. Anytime there is a song that features a line of chorus stating, "I wanna make babies with you..." you have to like it. I'm not sure where or when, but there was legislation passed regarding this. Jumping out of the speakers with a fuzzy and warm 70's style glow, "Babies" is without a question the best track on "Animalore." Plain and simply, this song just emits a cool vibe, which you can very easily dance to in the corner. A mix of clean and acoustic guitars, synth and keyboards really dazzle the ol' ear drums. "Babies" is also solidly comprised of strong verses, huge choruses and flowing solos. This song really has no weakness and has a great, timeless quality to it. If I told you I found this song on a record from 1979 - you would probably believe me.

"Tigers" also puts out a really nice, mellow, laid back feel. The vocals are extremely reposed, complimented nicely by bright chord progressions and riffs. The cool thing about "Tigers" is that the entire song is about being possibly eaten by...well...tigers - certainly a very tense and nerve wracking scenario. So when you combine this laid back, groovy bed of music with the lyrics, it's pretty ironic and gives the song an interesting little wrinkle.

The record's opening track, aptly titled "Hello" is also a formidable song and introduction to the album. Aside from a brief hook that appears to be lifted from Modest Mouse's "Steady As She Goes," the song suavely floats about with the greatest of self assurance. Imagine a stunningly beautiful woman crooning in a lounge with a glass of whiskey in one hand and a cigarette in the other, in 1963. Now transplant that image to modern times with a semi-known indie pop band at a small club in Williamsburg and you have the feel of "Hello."

So far so good, right? Well, no - aside from these tunes and "Summer Stars," the album amounts to a swing and a miss. The remaining songs seem to be just random ideas and tangents leading Via Audio away from the buoyant indie pop feel that made them such a great band in the first place. The first example of this is "Goldrush." Now there are definitely elements of this song that are right in Via Audio's wheelhouse, but it turns into this cheesy mess and a series of annoying choruses in the blink of an eye. I know some people will disagree with me, but whatever...it's too cheesy.

"Lizard Song" is a risky attempt to create an uptempo, rock number on the record. There's actually some parts of this song, again, that fit the Via Audio feel and are done very well. However, the constant push and pull of the distorted guitars and subdued verses do not mesh well, and rather than sticking it out I usually just skip ahead to the next track.

"Digital" falls into that annoying "indie-band-does-a-song-about-technology-and-fills-it-with way-too-much-bass" cliche. There's never been a decent song in the history of the world that rhymes the word digital with pixels - and there never will be. Terrible.

All in all I feel like I'm breaking up with Via Audio, or we're at least going to 'take a break.' While "Animalore" still retains some elements of what made "Say Something" so enjoyable, there has undoubtedly been some kind of change or departure from what made Via Audio great. It's like they just got back from their freshmen year of college and have all these new ideas and friends and habits. In the back of my head songs like "Babies," "Tigers" and "Summer Stars" will permit me to think that maybe someday we can get back together. For now though, I'm going to see other people.

Tracks

1.) Hello

2.) Goldrush

3.) Babies

4.) Tigers

5.) Wanted

6.) Too Quiet

7.) Lizard Song

8.) Digital

9.) Summer Stars

10.) Oh Blah Wee

11.) Olga

12.) Happening

WK9 - Local Natives - Gorilla Manor (9)

Released - 2/16/10
Label - French Kiss Records

BLURB - Five months ago I asked a friend to give me some bands that nobody really knew about, but should. I got a list of three bands - Local Natives was at the top. At the time, they only had a couple songs out, but had been making a huge splash in Europe and in the underground music circuits of LA and NYC. Like most, I had the general idea that the band had the potential to create an amazing record, now I have the proof with "Gorilla Manor." Blended with harmonies, enthusiasm and a grassroots approach to rock music, Local Natives has accomplished everything their fan base had been anticipating with this album. "Gorilla Manor" marks a return to what music should sound like - youthful, celebratory and sincere.

Rating - 9 out of 10

FULL STORY - Local Natives' sound is mix of rock, folk and varying shades of pop. If you're someone that enjoys the old "let's compare them to this band," adage, then consider Local Natives to be a collage of Fleet Foxes, Delta Spirit and Grizzly Bear.

The first track "Wide Eyes" is an excellent representation of the group. Charming guitar melodies and riffs slowly enter against a backdrop of constantly changing percussion as the track opens. The vocals of Taylor Rice stand out beautifully and compliment the various shapes and tones "Wide Eyes" provides - it's even more noticeable as he leads several three part harmonies with the band. After an unassuming and innocent first three minutes, the song moves into a heavier refrain, becoming more infectious with each note, ending after an almost chant-like, anthemic form.

"Airplanes" has a subtle tearjerker quality to it. The passion and sincerity in Rice's voice shines through with great force. Lyrically, the track focuses in on self-reflection, redemption and what could have been - personified by the warmth of the music, which features softer pianos and strings. "Airplanes" does change pace and intensity, but only when a point or chorus needs emphasis, affording the track the ability to play like a real life conversation.

Entering the world of Fleet Foxes, "Sun Hands" is filled with layers of folk harmonies and chants. The song is driven by pounding drums, creating a great tempo and sense of direction. Subtle and clean guitar melodies and progressions contrast with the intensity of the percussion. It's actually kind of brilliant, because it's difficult to ascertain the mood of the song. "Sun Hands" could be about fleeting happiness and despair, but could also be viewed as celebratory. This ties in with the lyrics nicely, as the track focuses around continuously trying to touch the sun, but ultimately failing.

Local Natives cleverly and creatively showcase their relatability on "World News." Yet again, vocal harmonies and catchy melodies are at the forefront of this track, both lyrically and musically. The voicing of "World News" is very calming and reassuring, allowing us to realize that the group, at it's core, is just normal people - thinking about normal things.

"The lane next over is always faster and you wait so long until you're so bothered. But right after you complete your merge the lane you started in gets going. While you wait for your luck to change all you can think about is where you started."

No, it's not about LA traffic as we obviously have a cool little metaphor here. What's nice is that Local Natives is very upfront about the theme and don't try to confuse or over analyze their thoughts. "World News" has a great simplicity to it, allowing it's listeners to interpret and dissect their lyrics effortlessly. At it's core these themes of change, impatience and regret can be applied to nearly anyone at anytime. The resulting effect is an increased meaning and emotional element that comes to light, brighter with each listen. But Local Natives is too good, and even further elaborates on these themes later on in the song:

"Your phone goes off with a picture of your mother. It's five to six and she can't find your brother. And while normally you'd yell and scream, instructing her to go and find him on her own...but calmly you're exiting and telling her that you are headed on your way home. She does not know what to say, just glad you are on your way. You turn off your phone in a different tone now, as you think the bad feeling so bad, makes the good so good."

Perhaps the most pop-influenced track on the album is "Camera Talk." Built off of a more traditional percussive style, the song flows with great rhythm and bounce. Distorted guitar chords ring out over the verses while a colorful keyboard progression lines the inner walls of the choruses. There's also something inherently catchy to the chorus that gets lodged in your head, maybe it's just the fact that "Camera Talk" is a cool play on words. The instrumentation throughout this song is right on par with what has been established on "Gorilla Manor," and is filled with strings, keyboards, electric guitars and vocal harmonies.

There really isn't much to dismantle with this album. It is the solid debut effort that we've all been hoping for. With a gun to my head, I would say the album is a little top heavy, but even that is a huge stretch. Nonetheless, Local Natives should be heralded as one of the up and coming indie rock act and haven't succumbed to the recent lo-fi, shoegaze phenomenon that bands like Surfer Blood and The Depreciation Guild have. "Gorilla Manor" has a certain charm and relevance that will grow on you each time you listen to it. For anyone that has been diving into the indie rock community over the past few years, you're sure to be impressed with Local Natives.

Tracks
1.) Wide Eyes
2.) Airplanes
3.) Sun Hands
4.) World News
5.) Shape Shifter
6.) Camera Talk
7.) Cards & Quarters
8.) Warning Sign
9.) Who Knows Who Cares
10.) Cubism Dream
11.) Stranger Things
12.) Sticky Thread

WK8 - Spoon - Transference (5)

Released - 1/19/10

Label - Merge Records

BLURB - Admittedly, I've never really listened to Spoon. I knew that they were some sort of indie rock band of note, with perhaps a couple of big singles over the past five or so years. I ended up buying "Transference" the day it came out because every trade post insisted it would be epic. Two months later, I'm still having trouble getting into the album. There are brief stints of greatness, but the overall record lacks a sense of continuity and flow. Some tracks come off as polished and tight, while others sound like they were recorded on a four track in someone's basement. Considering all of the hype prior to this release, it's fairly easy to understand why all of the commotion has died down.

Rating - 5 out of 10

FULL STORY - Of the fleeting glimpses of brilliance on "Transference," the third track "The Mystery Zone" has been receiving most of the attention. Muffled organs and strings reel the listener in with a daze and sense of confusion. While the song is somewhat monotonous, there is an aspect of garage-band-psychadellica going on that really catches your ear. Listening to the song feels like you're being sucked into some kind of...mystery zone. Adding to the confusion, the song cuts out mid phrase as it's ending.

"Written in Reverse" has a certain indie-bluegrass-ragtime feel to it. Huge, bouncing piano chords serve as the foundation for the track while equally huge vocals are dished out by Britt Daniels. The song ebbs and flows with varying degrees of intensity and chaos allowing listeners to remain interested.

Another one of the better songs on the album is actually the last track. "Nobody Gets Me But You" is a new-wave sounding ditty with an incredibly wet base line. Being injected into this funky beat are random effects with both piano and guitar riffs. It's definitely a very experimental track (although it still has a solid core) and one which I feel I'll be one of the few who actually like it. Much like the rest of this album, this track feels more like an idea as opposed to a song. But the tight groove mixed with some weird sound effects and distortion are usually right up my alley.

"Transference" in the end, has to be considered some sort of a bust. The whole album feels forced and unnatural. There remains to be seen, any kind of flow or momentum to the record - which makes it impossible to get into. I know because I've been trying to appreciate this album for the past two months and it's just not happening. It's like someone suggested - 'hey lets make another album' on a whim, and "Transference" was the outcome. Fragmented ideas and open ended musical elements are far too common here. Aside from the three tracks I mentioned above, the remnants are boring filler material that fail to accomplish any one thing. Maybe it's just my musical taste, but this album is just not my brand of tea.

Tracks

1.) Before Destruction

2.) Is Love Forever?

3.) The Mystery Zone

4.) Who Makes Your Money

5.) Written in Reverse

6.) I Saw the Light

7.) Trouble Comes Running

8.) Goodnight Laura

9.) Out Go the Lights

10.) Got Nuffin

11.) Nobody Gets Me But You

WK7 - Hot Chip - One Life Stand (5.5)

Released - 2/1/10

Label - EMI

BLURB - Hot Chip's been around the block the last several years, or so I'm told. Admittedly, this is the first Hot Chip album I've ever purchased or listened to. I know, I know...get with the times! I actually tried getting tickets to see Hot Chip with French Horn Rebellion at MHoW but it sold out in a minute and tickets were actually going for about $150 a piece on craigslist. Are they that good? I know French Horn Rebellion is. What we have with 'One Life Stand' is a collection of indie, electronic pop tracks that scream vanilla ice cream. Everyone and their cousin is telling me that Hot Chip is amazing and if don't like them, then...well...I just don't get it. I'm sorry, but am I missing something? This album is super top heavy and has an overall blandness to it that really makes it hard for me to get through. Yes, a couple of the tracks are amazing, but that's about it.

Rating - 5.5 out of 10

FULL STORY - Pitchfork had a really great line when reviewing this album, calling it a 'geek-chic, dancehall excursion.' That's perfect. It should be noted that they also gave the album a sparkling review. I however, will not. But the 'geek-chic' line really hits home for me. My initial thought of this album was, wow...the vocals do not sync well with the music at all. Not to be cruel, but it really sounds like a geek trying to croon over lines of keyboards and synthesizers. To me it's as if Hot Chip is trying to push a square peg through a round hole, and after about an hour of trying they said, screw it - we'll call it 'One Life Stand.'

The first track, 'Thieves in the Night' is arguably the best song on the album. The track starts off unassuming with just a steady kick drum and slowly building bass and synth lines. The music itself is pretty remarkable, teetering on the edge of indie pop and electronic dancehall. And just when you think you're in the middle of a rave, distorted guitar riffs chime in and add a distinct wrinkle to the song. The only flaw on this track, though, is the vocals. They simply don't match with the music. It sounds forced and uninspired and takes all of the momentum and enthusiasm out of the track. The vocals are also definitely more spoken than sung - and it just doesn't feel right.

'Hand Me Down Your Love' has a much more organic and real feel to it. There is a real piano, a real electric guitar and a real drum kit. This should be good, right? Not exactly - Hot Chip finds a way to throw in this recurring weird, electronic-alien voice that turns the song into a gimmick. After a while the song turns into this monotonous, mediocre track that fails to go anywhere and is being constantly prodded with this weird voicing.

In keeping with the times, 'I Feel Better' features auto-tune, and for me this works. It's a creative way to hide and mask the vocals, while blending in with a background symphony of strings. Once the song gets going, it's actually very good. I can actually listen to it...and kind of like it. Hot Chip does a lot of tricks here looping varying lines of vocals and dialogues over a great beat and a chorus of violins.

The title track, 'One Life Stand' features an almost ominous bass line that does a nice job promoting unrest and anticipation. It's kind of dark and is the first song on the album that actually draws the listener in and keeps them on the edge of their seat. But almost right on cue, Hot Chip gives us yet another bland and slowed down chorus that fails to accomplish any kind of goal. 'One Life Stand' is more or less a cool collection of verses, for which you have to wade through several choruses to enjoy.

From here on out the album drops off the table, bordering on the edge of unlistenable. Huge masses of filler and forgettable songs painfully flood the album. Lyrically, there is a cliched and forced sincerity that comes off disingenuous and once again, fails to mix well with the music. Try to listen to 'Slush' without skipping ahead. It's impossible - like trying to eat a tablespoon of pure cinnamon.

Over the past four years Hot Chip has released albums and supplemented them with several EP's. I feel like 'One Life Stand' should have been a four song EP (consisting of the first four tracks of the album). The album has a couple good ideas and flashes of brilliance, but in it's entirety - it's an abysmal display of their talent. I know I am supposed to like this, but I just can't.

Tracks

1.) Thieves in the Night

2.) Hand Me Down Your Love

3.) I Feel Better

4.) One Life Stand

5.) Brothers

6.) Slush

7.) Alley Cats

8.) We Have Love

9.) Keep Quiet

10.) Take It In

WK6 - Toro y Moi - Causers of This (10)

Released - 2/2/10

Label - Carpark Records

BLURB - I went to see Neon Indian at Mercury Lounge three months ago and Toro y Moi was opening. We had no idea who he was, so of course we decided it would be better to just come later (after the openers) and get some pre-show drinks in our system. Idiots. The irony in this is that, in constantly looking for that great new band or great new sound, I spend a lot of time going to shows and researching up and coming acts. So it makes perfect sense that the one time I purposely show up late to a show, I miss the artist that may have just released the best album of 2010. 'Causers of This' is a complete amalgamation of the music I've been listening to over the last several months and is filled with relaxing grooves, hazy synths and chopped up samples. It's one of those records that, when you hit play for the first time, you know instantly that it's going to exceed your expectations.

Rating - 10 out of 10

FULL STORY - 'Causers of This' is an album that most people will never hear. But for those of us in the indie and underground world it's a different story. The hype and anticipation for this album has been steadily building to the point where it's impossible not to know who Toro y Moi is. Aside from features on Pitchfork: TV and Brooklyn Vegan, Toro y Moi (real name - Chaz Bundick) even appeared in Kanye West's blog. A pretty big deal for someone that no one really knew of, up until about four months ago. With all of this underground hype and buzz it seems entirely too cliche to jump on the bandwagon and fall in love with Toro y Moi because I'm supposed to. But after listening to this album every day for the last two weeks I can honestly say that it lives up to the hype - and dare I say - exceeds it.

The music itself on 'Causers of This' gently sweeps across numerous genres including hip hop, 80's pop, R&B and glo-fi. If forced, I would have to liken him to an urban version of Panda Bear. The great thing about all of these up and coming DIY solo artists is the fact that they can operate without any true set of guidelines. There's no bass player chiming in with his opinion, or singer that wants to suddenly change the band's feel. Instead, you're left with one man, his musical sensibility and how he chooses to represent his individual talents and ideas. You're getting the music in it's most organic and natural state.

Now usually I'd go through some of the highlights of the album, but with 'Causers of This' I feel that each track bears a similar weight and importance...and my two sense...

The single 'Blessa' opens up the record and provides a hazy introduction to just exactly what Toro y Moi is all about. This slow moving track wanders around several musical themes and seems to be constantly morphing into different shapes. Above anything else, it's extremely conceptual and plays with the idea of what a traditional song should consist of. Occasionally he'll settle down into a decent groove, but for the most part it's a dizzying display of ambient fog and confusion - like getting a head rush when you first wake up in the morning. Everything seems like it's in slow motion and you're not quite sure what's going on.

Cascading out of 'Blessa' is 'Minors,' which serves as a brief wake up call of sorts. Towers of synthesizers and stretched out vocals stand tall over a bed of effects. Bundick seemingly operates amidst a more structured feel, but during the verses he once again wanders through feelings of confusion and indifference. Bending keyboard notes and synth lines casually appear and disappear as fleeting ideas while Toro y Moi successfully attempts to personify apathy and hopelessness (both lyrically and musically) with the song fluttering in tempo and mood.

We're finally met with more of an upbeat groove on 'Imprint After.' This track provides a catchy synth hook that dances around steady snare hits and a smooth bass line. Halfway through the song, 'Imprint After' becomes downright infectious. As soon as you reach the one minute mark, everything locks into place and the song catapults into another stratosphere. Once this laid back jam finally resolves, we get a steady dose of Bundick's vocals over acoustic piano chords. While his voice is certainly less than spectacular, Toro y Moi finds clever ways to disguise and mask his tone. Often times he'll blend the vocals into other background vocals or understate them against his many layers of ambient effects. This is what the good ones do. Bundick recognizes the fact that alone, his vocals aren't good enough - but when fused with his own musical creativity - it's a hurdle that can easily be jumped.

'Lissoms' and 'Fax Shadow' really showcase Bundick's raw talent to mix and match musical themes and motifs. 'Lissoms' is ripe with experimental beats and interpretations. The song is constantly being cut up, mixed and re-mixed, settling into several nice grooves along the way. The way in which the beats and themes are chopped up really reminds me of Flying Lotus. At times it can be a little chaotic, but it's always leading to something. And this is exactly what Toro y Moi does as 'Lissoms' slows down and indiscernibly morphs into 'Fax Shadow.' Before we even realize it, we're surrounded by an entirely different, ambient groove and being pelted with mashed up samples and background vocals.

'Thanks Vision' provides us with what very well could be a radio single. Well...could be. This bright and colorful pop track effortlessly bounces around a simple progression of chords and synthesizers - but don't get too attached. Toro y Moi eventually brands it as his own and delves off into varying degrees of experimentation. While he doesn't stray too far from the original setup, he never does revisit the pop structure that he establishes in the introduction. Instead, the track moves into a light and airy jam casually floating around for the duration of the song.

The Flying Lotus and perhaps even a little Thievery Corporation comparisons surface again on 'Freak Love.' Like the 'Lissoms -> Fax Shadow' suite, 'Freak Love' is a collection of chopped up vocals and augmented drum beats. Occasionally he'll settle into a set groove, but the majority of the track is fragmented ideas and concepts, which brilliantly sway between psychedelic electronica and interpretive R&B.

'Talamak' is likely the first song of the album that sticks to a set idea (keep in mind, we're seven songs deep now). Foggy, futuristic synth leads and a great snare drum are all that is really needed for the bedrock on this track. Here, Toro y Moi also revisits some of the pop tendencies we briefly saw on 'Thanks Vision,' and further elaborates on them with one of the better vocal performances of the record. 'Talamak' ends as it beautifully transitions into the contemporary 80's pop-sounding, 'You Hid.' Blasts of distorted keyboards slowly pulse as a muted R&B guitar riff emerges, creating what could be vaguely be categorized as a ballad. I imagine it's how a song in 1983 would sound if everyone at prom was on acid.

And now it gets good...no, great. It makes sense that 'Causers of This' is bottom heavy. Typically with modern releases, labels will front load the first five tracks of an album with the singles and leave the remainder as monotonous filler. But I think it's safe to say that Toro y Moi, and the album, are atypical. The last three tracks (should you have the bonus track version) are easily three of the best tracks on the album - maybe even three of the best tracks from 2010 so far. Bundick kind of inadvertently sets up 'Causers of This' as a test for his listeners. For those that are open minded and intelligent enough to accept and acknowledge his unique style, creativity and, ultimately, his talent - there is a veritable light at the end of the tunnel for us. I'll go on record, however, and say that even without the latter tracks in the album, it's still one of the best releases of 2010. It's still ingenious and awe inspiring.

With the above being said...'Low Shoulders' is probably the coolest song I've ever heard. Everything about it is hip, trendy, fun and exciting. You can instantly tell from the opening keyboard riff that it's going to be great, as several layered, chunky bass lines begin to surface in the background. There is a brief pause and as we're greeted in unison with keyboard and synth hits, we realize that we need to be dancing. It's at this point that drums kick in and the song takes off. From here on out it's perfection. I'm not lying when I say that I've listened to this song at least ten times a day for the last two weeks. You can check my iTunes play count. 'Low Shoulders' dances between glo-fi and disco in a way that is not only catchy, but infinitely enjoyable. There is nothing but good vibes going on with this track. It also has one of the better keyboard solos you'll ever hear.

Toro y Moi proceeds to throw us back a couple decades on the title track, 'Causers of This.' Here's yet another fun, catchy, upbeat track that is a modern take on what very well could have been a Bobby Brown or New Edition track. While it's not as tightly produced (not that is should be) as it's predecessors, 'Causers of This' is filled with wet bass lines, clean guitar riffs and electronic drums which screams 1980's pop. The modern twist Bundick throws into the mix is the constant cutting, chopping and sampling of his riffs and vocals. I'd say it's like a DJ remixing 'Every Little Step I Take,' but I don't feel that's accurate or gives the song it's just due.

For those of us lucky enough to purchase the bonus track edition, we were given 'Eden' as the last track. Once again we have a very bass heavy, retro pop song filled with chimes and synthesizers. However, once get midway through the track we suddenly move into Daft Punk territory. The song instantly goes from retro to spacey and we're met with that patented Daft Punk 'robot' voice. From here on out the entire pace of the song increases ten fold into that of a trance song at a rave. The track eventually fades into the album's ending and we're shit out of luck.

What's left to say? With Toro y Moi there is some kind of intangible force that not only draws you in and but has you constantly wanting more. His take on music is equal parts intoxicating and addictive. The album has a certain duplicity to it that is fairly groundbreaking. When listening to the album as a whole, it's fairly difficult to ascertain where songs start and stop - almost like it's one continuous project. Even more bizarre, is that you could argue each song sounds like a mini album, in it's own right. The tempos are constantly changing, the instrumentation alters considerably and there seems to be a revolving door of vocal melodies and themes. However you try to decipher it or break it down, 'Causers of This' is no ordinary record - and to avoid any ambiguity, I think it will end up being one of (if not) the best album of 2010.

Tracks

1.) Blessa

2.) Minors

3.) Imprint After

4.) Lissoms

5.) Fax Shadow

6.) Thanks Vision

7.) Freak Love

8.) Talamak

9.) You Hid

10.) Low Shoulders

11.) Causers of This

12.) Eden