WK18 - Foster the People - Torches (9.5)

Released - 5/23/11

Label - Sony Music Entertainment

BLURB - "Torches" is the record everyone expected MGMT to come up with after "Oracular Spectacular." Though not as musically ambitious as MGMT, Foster the People have arrived on the music scene with an energy and enthusiasm that I haven't seen since, well, MGMT. They're young, they're excitable and they're welcome in my iTunes library. I'd like to say I've been following them for some time now and just waiting for them to break...but I haven't. Let the records show that two months ago Mike Walp sent me a message saying, 'Hey check out Foster the People, you'll dig them,' or something along those lines. Someone get Walp a beer.

Rating - 9.5 out of 10

FULL STORY - In all honesty I think the music scene has been lacking in 2011 so far. Yeah we've had James Blake, Cut Copy and Yuck (maybe throw Bibio in there), but that's really been about it. I looked back to what was released early last year, and even before March was over we had already had a ton of great releases (most of which ended up being on my Top 15 Records of 2010 list). These included Freelance Whales, Surfer Blood, Toro y Moi, Local Natives and The Morning Benders - and don't forget Neon Indian's debut came out at the very end of 2009. If I had to take a guess now, there's only three albums (James Blake, Cut Copy and Yuck) that are likely to be on the 2011 version of that Top 15 list - and it's pretty much June already! So, suffice it to say, Foster the People are starting to break at the right time - and the music scene is eating them up. We've been waiting.

Like the band itself, Foster the People's music is easy to explain...yet complicated. If you're in a hurry, Foster the People is like a reincarnation of MGMT from 2008. They're an indie rock band that blends together interesting elements of pop and dance (to some extent) in their music. If you've got some time, their music does go a bit deeper and features some incredibly unique interpretations that, surprisingly, never cease to be entertaining.

'Helena Beat' leads off the album with a bang. The song could very well be one of the best ones I'll hear all year. Machine-esque synth and grinding leads blend together in an unexpected manner that will have you hitting the repeat button over and over again. Against the industrial sounding synthesizers is an incredible dance beat the provides the song with energy and momentum. Vocally, the song is filled with catchy hooks and melodies that cleverly bounce off of the track's instrumentation. At least for me, this is a track I don't see myself getting sick of for a very long time.

The second track on the album, 'Pumped Up Kicks' initially sounds like it's going to be some boring, uninspired work. The song starts with an admittedly catchy riff, but it, along with the vocals are muted and very down tempo. As the chorus approaches the instrumentation and vocals pick up and turn in to something you would expect to hear from MGMT. There is a certain swagger and coolness to the song that can't be understated. After hearing the chorus morph back into a new verse, you get a real sense of how well Foster the People can evoke moods and themes by varying the tone of the song. By differing the production levels and instrumentation, there is a level of interest that is evoked in the listeners - strangely turning this quirky little song into something of an anthemic hit.

'Call What You Want' should be in the next iPad commercial. It's perfect. The track begins innocently enough with just a kick drum and sound effects before a progression of tumbling piano chords emerge. From there, the song transforms into this creatively catchy masterpiece that finds a way to fuse an acoustic piano with rock, pop and dance. I don't think the piano can be understated, and has a great tone to it. At least for me, I feel that the acoustic piano progressions somehow validate and give the song credibility. It would have been all too easy for Foster the People to just plug in some synthesizers and call it a day, but the piano adds a strong sense of character and personality to the song. Also, for some strange reason, the vocals on this track eerily remind me of New Radicals.

Foster the People drum up the obligatory downtempo ballad that's still catchy with 'I Would Do Anything.' The production of the song can definitely evoke some emotion and I can certainly see this song being placed in a film. You know, maybe there's a scene where two close friends just kissed for the first time and the guy is driving away on a deserted highway by himself with a half smile on his face? Music supervisors - listen to this song and read the lyrics and tell me that's not a home run idea:

"Never want to stand up for myself, never want to get in the way - I said it. I don't know what the plan is, but you can share with me, because I'll be listening here to everything you say, I won't turn away. And I will listen, open up my heart and I must say that I love you so. Oh la love, I've fallen in love and it's better this time than ever before."

Enough romantic song placements. Foster the People also drum up something of a hit in 'Houdini.' That song has an incredibly big beat that is driven home with bulky piano riffs. The track remains somewhat moderately paced but never gets too slow. The bridge after the chorus features some crafty synth work that will reel you in if you weren't exactly captivated by the song's initial movement (I wasn't). Towards the end of the track the song climaxes with a great outro that pulls out all of the energy and excitement that you knew was lurking somewhere behind the curtain.

The remainder of the album remains much in the same vein. You never what's lurking behind the next corner, but you're invariably rewarded as you continue listening. There is so much creativity, enthusiasm and curiosity on this album - it's really hard to put down. It really is a breath of fresh air and a record you can simply just push play on - there aren't any songs worth skipping over. The only flaw may be that, while creating this unique and fun interpretation of pop/rock, Foster the People do tend to rely on the same techniques and song constructions throughout the album. The more you listen to this record, a few of the songs do tend to blend in with one another - but never in a way that is overly detrimental. It's just something I've noticed. That being said, "Torches" is definitely an album to go out and pick up (especially if you're into MGMT, Passion Pit, etc.), and should be one of the most played albums of this summer.

Have a listen to 'Helena Beat.'

Tracks

1.) Helena Beat

2.) Pumped Up Kicks

3.) Call It What You Want

4.) Don't Step (Color on the Walls)

5.) Waste

6.) I Would Do Anything for You

7.) Houdini

8.) Life On the Nickel

9.) Miss You

10.) Warrant

11.) Broken Jaw

WK17 - Adventure - Lesser Known (7)

Released - 3/21/11

Label - Carpark Records

BLURB - This album has slowly crept into my rotation over the last month or so. Adventure is a three piece group that blends electronic music, pop and indie into this surprisingly cool mix of hipster dance music. While the group is young (and it shows), there is certainly the potential for Adventure to become something dynamic. The lyrics are sparse, but the musical ingenuity and ideas are not, as Adventure's "Lesser Known" spends much of it's time weaving between 80's pop and 00's electronica.

Rating - 7 out of 10

Full Story - I'll try to filter out the bias for this album, but there are some things that should go on the record. I heard about Adventure through a friend of mine, Dave Fell, who is -- yes -- a member of Adventure. And yes, his name is Dave Fell. Before Dave's musical career started taking off, he was more known for his glove at first base. I played baseball with Dave all the way from little league through varsity baseball in high school and he was always the guy with the jokes, but also the guy that would hit the go-ahead home run. So when I got wind of Adventure, and heard they were opening for Toro y Moi in Brooklyn -- there's no way I could miss that. Adventure played a great set in front of crowd that largely had no idea who they were. It was evident how well they performed when I had to wait for a crowd (ok, maybe 5 or 6 people) to pass, to catch up with him. I ended up picking up their album and it keeps finding it's way into my playlist.

On to the actual music though. The album begins with 'Open Door,' a synth-ridden opener that quickly established the feel and tone for the album. The track basically features one riff, as background instrumentation is continuously being filtered in and out. The song gets a bit monotonous, but the backing beat is solid enough to make you forget about the repetition.

The strongest track on the album has got to be 'Feels Like Heaven.' Like 'Open Door,' much of the track is repetitious, but the vocal hook and underlying melodies provide a strong foundation. The song has a bright eighties feel to it, and could double as a new-age synth-pop hit. The vocals are of a somewhat higher pitch and remind me of something off of a Passion Pit or MGMT record. The beat of the track is also filled with incredible momentum, while the song itself remains somewhat down tempo. The lyrics are also somewhat intriguing as they go back and forth between the lines "this feels like heaven" and "this is my heaven," adding a sincere tone to the song.

'Smoke and Mirrors' comes off as a bit cheesy. Sorry Dave. The song has a weird tropical feel that I can't get into. I don't know if it's because I hear bongos and synthesizers at the same time or what, but I just don't feel it. The vocals on 'Smoke and Mirrors' are also a little sub-par here and definitely detract from the song.

'Lights Out' is the song I want to hear right before the apocalypse hits. It's loud, energetic and danceable. It's such a great party song and has an incredible amount of energy and excitement. The synths are somewhat darker and have a more industrial tone to them, but when they are coupled with some of the brighter synths and leads the result is unbelievable. Once again there is a great beat providing the foundation and carries the track throughout the chaotic instrumentation.

For the most part, "Lesser Known" is a collection of these great ideas and fragments that are transformed into songs. While that can yield great results like 'Feels Like Heaven' and 'Lights Out,' it can also create repetition and monotony. Many of the songs on the album feel like just a single theme, hook or lead that is extended long enough to create a song. Don't get me wrong though, some of these pieces are amazing, but it would be nice to see a little more diversity in the songs themselves. I think with another year or two, though, Adventure is going to mature into a great electronic indie-dance band. But for now, "Lesser Known" is nothing more than a great start.

Take a listen to 'Feels Like Heaven.'

Tracks

1.) Open Door

2.) Feels Like Heaven

3.) Smoke and Mirrors

4.) Fool's Paradise

5.) Rio

6.) Lights Out

7.) Relax the Mind

8.) Electric Eel

9.) Meadows

WK16 - Panda Bear - Tomboy (6.5)

Released - 4/12/11

Label - Paw Tracks

BLURB - Panda Bear returned to the conversation a few weeks ago with his latest release, "Tomboy." Aside from being a member of the critically acclaimed Animal Collective, his solo career has been equally impressive. His "Person Pitch" record in 2007 was named best album of the year and went on to be be named as one of the top one hundred albums of the decade by numerous media outlets. So what does Panda Bear (or Noah Lennox) do for an encore anyway?

Rating - 6.5 out of 10

FULL STORY - For many, Panda Bear is, and always will be, a tough listen. He weaves artistic melodies and themes amidst a sea of hazy loops and ambience that can overwhelm your eardrums. Listening to a Panda Bear song is more of an auditory experiment. Don't let this deter you from his music though -- buried underneath the noise and repetition are very structured pop ideas and infrastructure. The vocals are generally filled with waves of reverb and delay, which gives the song a deeper depth and presence -- as if every song was sung by a choir of men. The best part of Panda Bear though, has got to be his lyrics. Panda Bear's lyrics are incredibly simplistic and basic, yet possess so much thought and innocence -- each track plays like a poem written by an eight year old. Honest and simple.

The album begins with 'You Can Count On Me,' which gently floats along. The pace is slow and careful, but comes off a bit dull. The lyrics mainly consist of Lennox pining for his audience to know that they can, in fact, count on him.

'Tomboy' picks up the energy as Panda Bear employs a series of looping distorted guitars and key changes. But it's obvious to me, right away, that this album takes on a completely different tone than "Person Pitch." The 2007 record was bright and warm -- while "Tomboy" has yet to establish much of a personality. Overall, 'Tomboy' (the song) comes off as monotonous and indifferent.

And so just as soon as I'm beginning to have my doubts about this record, we're hit with 'Slow Motion,' a breath taking track that brings us back in. The song has a great fusion of sounds and loops and some actual character. The vocal melodies that are present are intoxicating and synch perfectly to the music. The lyrics are an interesting take on advice as Lennox tries to convey how it's sometimes more important what people don't say, rather than what they do say:

"So they say practice makes you perfect. So they say you can't teach an old dog. So they say have an apple a day. So they say better safe than sorry. Everyone knows what they always say. And when I slow down, it's just clear how it's what they don't say that counts."

'Last Night at the Jetty' is another masterpiece that will casually sneak up on you. The song reminds me of "Guys Eyes" by Animal Collective, in that it has this old retro feel to it, but somehow also feels modern. The song mostly wades through some warm tones and calming ambience but does build to a powerful bridge halfway through the song. The melodies are also on point, and backed against a chorus of fuzz and reverb, sound like a slow Beach Boys track on acid.

A few other notable tracks are 'Afterburner' and 'Alsatian Darn,' but outside of those, the album really feels empty. There's something of a dark, industrial undertone that mires much of the record in apathy and carelessness. "Person Pitch" had so much color and positive energy, despite Panda Bear's repetitious recording style. "Tomboy" has the same production techniques and qualities, but is missing some substance and energy. It doesn't have any defining characteristics and just sort of exists. I am and will always be a Panda Bear / Animal Collective fan, but this album really doesn't do it for me (outside of a few key tracks).

Take a listen to 'Slow Motion.'

Tracks

1.) You Can Count On Me

2.) Tomboy

3.) Slow Motion

4.) Surfer's Hymn

5.) Late Night at the Jetty

6.) Drone

7.) Alsatian Darn

8.) Scheherazade

9.) Friendship Bracelet

10.) Afterburner

11.) Benfica

WK15 - Cut Copy - Zonoscope (9.5)

Released - 2/8/11

Label - Modular Recordings

BLURB - I never really got into Cut Copy over the past few years. I remember thinking once that all of these 'C' bands were all the same (Cut Copy, Crystal Castles, Chromeo, etc). Looking back now, those three bands are so entirely different, I can't believe that I just wrote all of them off as hipster dance bands. Cut Copy, actually, is quite far off from some generic hipster dance band. Sure they have some of the uptempo dance chops that remind me of Delorean, Hot Chip or Passion Pit, but on 'Zonoscope' they've also forged ahead and transformed into a dynamic indie act that doesn't deserve just a fleeting glance. The new record is much more well rounded and diverse, providing a unique listening experience for their audience.

Rating - 9.5 out of 10

FULL STORY - I should have known I'd like this album - Cut Copy is from Australia. Geography aside, I took a bit of a further look into Cut Copy to see what brought them to 'Zonoscope.' For much of their career, Cut Copy was that typical dance-rock band that had a couple songs of interest, but not much else. They had some hits that got jammed in your head and made for a great road trip soundtrack - but for the most part it was just fleeting success. Move to 2011 - Cut Copy has refined and modulated their sound while still appealing to their long standing fan base. 'Zonoscope' has a much more interpretive feel than records past and is filled with depth and substance. Rather than just throwing out a hook and seeing if people like it, they've shifted their focus to generating momentous and dynamic material that constantly grows on its listeners. There's a real sense of maturity on this album.

"Need You Now" opens the album with a steady and repetitive bass line that cycles throughout the song. Slowly, synth and chimes filter in as the drums kick in and the song finds its initial groove. Before long, the intensity picks up and waves of ambient synth flow in and out of the speakers with subtle hooks and riffs. The song has an underlying 80's feel and for whatever reason, it consistently reminds me of a more interpretive version of OMD's "If You Leave."

The second track, "Take Me Over" feels like a more mild-tempered Delorean track. The verses are fairly subdued and mainly consist of clean guitar lines and hi hats. As the chorus approaches you can tell the track is moving towards more of a dance feel as a catchy synth chord progression takes the wheel. Cut Copy does a great job on "Take Me Over" with varying their tempos and moods - while it may serve as their obligatory single - it still has character and versatility that is worth noting.

Following "Take Me Over" is the surprisingly beautiful "Where I'm Going." Filled with background harmonies and a beach-pop feel, the track literally sounds like it should have never made it on to the album...but this is Cut Copy's maturity shining through. The track feels like a modern interpretation of the Beach Boys that is filled with indie quirks and production values. It's graceful, patient and incredibly likable. I'm more than ready to put this on to a summer mixtape.

"Blink and You'll Miss a Revolution" begins out with a fog of distortion and sound effects before going into something of an atmospheric-island jam. As the vocals and keyboards hit, there is a noticeable edge and aggression that reels you in. The song has a very eery quality to it, yet is offset by the bright colors and tones that are used. Just before the two minute mark, the track really hits its stride, as a wall of sound emerges amidst a now upbeat tempo. The track then returns to its darker verse only to re-emerge with more energy and an incredible violin outro that slowly morphs into "Strange Nostalgia for the Future."

"Hanging On To Every Heartbeat" is a slow moving track that is constantly shifting instrumentation and texture. The song begins with inconspicuous little guitar riff that plays against a soft fog of synth. As the verse moves along, the synth is exchanged for acoustic guitars before moving into a very keyboard and computer-driven chorus. Somehow these constant changes in instrumentation and tone work. They keep the song interesting and relevant, without coming off as abrupt or disrupting the natural flow of the song.

Cut Copy's 'Zonoscope' appears to be one of the pleasant surprises of 2011 and is definitely an album I'd recommend to anyone that is a fan of Delorean, Miami Horror or Hot Chip - but also wants a little depth and experimentation. It's just a solid record.

Take a listen to "Where I'm Going."

Tracks

1.) Need You Now

2.) Take Me Over

3.) Where I'm Going

4.) Pharaohs & Pyramids

5.) Blink and You'll Miss a Revolution

6.) Strange Nostalgia for the Future

7.) This Is All We've Got

8.) Alisa

9.) Hanging Onto Every Heartbeat

10.) Corner of the Sky

11.) Sun God

WK14 - Bibio - Mind Bokeh (9.5)

Released - 2/4/11

Label - Warp

BLURB - One of this year's great surprises (well, not really) has got to be Bibio's "Mind Bokeh." Bibio feels like they've been around for ages, but they finally started to gain some real notoriety over the past year with their previous record, "Ambivalence Avenue." They went from an underground indie/electronic unknown, to basically a mainstay in today's music scene. Their track, 'Lovers Carvings' was even featured as the background music for an Amazon Kindle commercial. "Mind Bokeh" proves that Bibio still has that gift for producing creative and interpretive indie/electronic music. The record can be played in any which way and feels like a complete work of art. The best part of Bibio is that their music is fused from so many different styles that it really becomes a must-listen for any fan of music.

Rating - 9.5 out of 10

FULL STORY - "Mind Bokeh" begins modestly with 'Excuses,' as the ominous track slowly takes shape amidst a flutter of sound effects and digital noise. The song is continuously building and morphing colors as it turns into something of an avant garde, digital-european feel. The track then segues into the patient 'Pretentious' as dirty snare drums and what sounds like broken clocks play. Bibio does a great job at building anticipation and excitement in their music - you can almost compare them to Flying Lotus - there's always something up around the bend. As 'Pretentious' continues to build, the song transforms into this incredible slow jam complete with wavering synth lines and hooks.

'Anything New' is an unbelievable tune, that is chopped up, glitchy, yet is incredibly listenable. The song has a great dance feel that you would have never expected. Contributing to the song's appeal are the layers of hooks and riffs that capture your ears. The song also maintains a steady diet of diversity as the instrumentation is constantly changing and introducing new pieces.

'Light Sleep' brings the funk. This track is lively and has an early disco's feel to it, and is produced with a real retro and vintage feel to it. Just listening to 'Light Sleep' takes your mind away to a different place and puts you in a great mood. The song is something that I would have expected to hear on some AM Gold radio station in 1975. Once again there are numerous synth hooks and melodies that appear, only this time they are over a bed of wah-guitars and some very modest, yet ingenious percussion.

When I first heard 'Take Off Your Shirt' I was like...'oh no, Bibio what are you doing?!' The track begins with collection of hard guitar riffs and sounded like it was going to turn into some terrible rock song. This was a far departure from the Bibio I've come to know. But yes, it is a rock song - and yet it's somehow growing me. It gives Bibio that extra punch and power that you would really never expect. I still haven't come completely around on it, but nonetheless, it's very cool to see a band that refuses not to enter different genres.

'Artists Valley' will take you back to old school Bibio as the track begins with a raw folk feel. From there waves of snares, synth and digital effects come to the forefront. For the most part the track is fairly downtempo and establishes a couple nice grooves, while remaining somewhat raw and unfiltered.

'K is for Kelson' appears to be the 'Lovers Carvings' of "Mind Bokeh." It's one of those songs that are just fun to listen to. There is so much energy and excitement - and just makes you want to move around. The track feels huge, and sounds like it uses no less than 50 different instruments. The outro of the song is also worth mentioning as it has one of the coolest sounding dual synth leads I've ever heard.

While "Mind Bokeh" does tend to leave behind much of the folk influences they experienced with on "Ambivalence Avenue," (don't worry, there is still some there) the record jumps Bibio's career up another notch or two. The album is filled with artistic interpretations of both classic and newer forms of music. When these styles are created with the skill and talent of someone like Bibio, the music really jumps out of the speakers and makes you appreciate what exactly you're listening to.

Have a listen to 'Light Sleep.'

Tracks

1.) Excuses

2.) Pretentious

3.) Anything New

4.) Wake Up!

5.) Light Sleep

6.) Take Off Your Shirt

7.) Artist's Valley

8.) K is for Kelson

9.) Mind Bokeh

10.) More Excuses

11.) Feminine Eye

12.) Saint Christopher

WK13 - Destroyer - Kaputt (3)

Released - 1/25/11

Label - Merge Records

BLURB - I have to say, Destroyer's "Kaputt" has to be one of the biggest flops of 2011. I had such high expectations for the record, as a barrage of buzz was filtering in and out of Brooklyn Vegan and Gorilla vs. Bear. The album is slow, unadventurous and tedious. Yes, certain parts are incredibly mellow and unexpectedly colorful, but "Kaputt" is not something that will be making it's way into my everyday playlist.

Rating - 3 out of 10

FULL STORY - First things first, yes I know Destroyer has been around for years and years, and I am just now trying to get into his music. Forgive me. But in all seriousness, doesn't that just provide me with objectivity? The first time I heard of Destroyer was a few months back when Gorilla vs. Bear featured his video for 'Kaputt.' I loved it. Even if you haven't seen the video, just Google it...it's worth the six minute watch. But almost immediately after I watch the video I knew I'd have to go buy the album. The song itself was ok, but the video was so cool that it just kind of spiked my interest.

And so I guess I'll begin with 'Kaputt.' The worst part of 'Kaputt' is that it clocks as the sixth track on the album, so if you're trying to listen to the record straight through, you really have to sit through five terrible songs before you get to one 'ok' track. 'Kaputt' is very mellow and relaxing and kind of just floats around. It has a very day-dreamy feel to it. The lyrics also create a sense of wonder and aimless journeying:

"Wasting your days, chasing some girls. Alright..chasing cocaine - through back rooms of the world all night"

Musically, 'Kaputt' is very minimal - which I do like for this particular song. It reminds me very much of a pop / keyboard-driven version of The XX.

Unfortunately, the rest of the album is just an abysmal failure of monotonous and uninspired keyboard pop. I would really just be wasting time if I tried to go through, song by song, and review each. They are all that similar and invariably use the same formula. Slow keyboards, slow lackluster bass lines and the occasional saxophone solo. The vocals aren't anything to write home about either...pretty much just spoken dialogue in a soft tone. I'm just not feeling it...

Take a listen to Destroyer's 'Kaputt.'

Tracks

1.) Chinatown

2.) Blue Eyes

3.) Savage Night at the Opera

4.) Suicide Demo for Kara Walker

5.) Poor in Love

6.) Kaputt

7.) Downtown

8.) Song for America

9.) Bay of Pigs

WK12 - The Strokes - Angles (6.5)

Released - 3/22/11

Label - RCA Records

BLURB - Finally! After years and years of waiting, the public has finally gotten what they have demanded from The Strokes - a new album. For those that have been following this drama, it was a tumultuous period for the group filled with constant arguments and fights over the material. Compound this with Julian Casablancas, very publicly, pursuing his own solo career. But, push come to shove, the album is here. While I don't think there will ever again be releases like "Is This It" or "Room on Fire," - "Angles" certainly delivers some classic-Strokes tunes. But in all honestly, the new record doesn't stand up to the high bar of expectations all of us have come to expect from The Strokes.

Rating - 6.5 out of 10

FULL STORY - First and foremost, we can finally move forward from "First Impression of Earth." This was by far The Strokes worst album, and arguably, one of the worst albums ever made. "Angles" appears to have a similar 'experimental' aspect to it, but much of the new songs do have a old-school, grassroots Strokes feel. Which is definitely a good thing...but there are still plenty of question marks on "Angles."

One of the first experiments comes on the album's opener, 'Machu Picchu.' This song is weird, I'm somewhere in between hating and loving it. The verses are made up with some weird oriental-80's guitar work that I can't seem to get into. It's a little slow, and somewhat monotonous. However, the chorus and subsequent guitar interludes are amazing. The energy and the overall feel of the song becomes much brighter and more frenetic. This is The Strokes we all love. It almost feels like the song is made up of two entirely different parts, and when they are fused together...it doesn't really work

'Under Cover of Darkness' is the definitive best song on the album. The track is comprised of riffs and melodies that are constantly bouncing off of each other. There is a very fun and light feel to the song that is simply infectious. Further helping the song along, is a huge chorus that is belted out with immense force and depth.

Julian dials in the 80's once again for 'Two Kinds of Happiness,' and once again I'm not to sure about it - and this is coming from someone that loves 80's music. In a weird way, 'Two Kinds of Happiness' reminds me of 'Machu Picchu' in the sense that once again there are two clearly distinct sections of the song that don't match well together. With 'Two Kinds of Happiness,' the retro 80's feel of the introduction and verses are extremely well done. Simple, yet melodic. But then the music merges into this uptempo, thrashy chorus that seems to go nowhere. It just doesn't mesh.

'Gratisfaction' is old school Strokes at its finest. The track sounds like a hit someone concocted with their blues band in their garage in 1978. There is definitely a feeling of soul and blues in 'Gratisfaction.' It's also bright and energetic and fairly impossible to stop listening to, which is something I've had trouble with. Song like this are what we've all been waiting for. Awesome.

In all fairness, we probably wanted the world with "Angles." But The Strokes did finally give us a new album, so we should probably just all shut up and listen to it. That being said, it's not as strong as I hoped it would be. You can almost feel the creative control over the material through the music. Songs like 'Life is Simple in the Moonlight' and 'Call Me Back' are far cries from 'Last Night' and 'Someday.' I respect the risks involved with these tracks and some of the other ones, but just give us a couple chords, a cool melody and Julian crooning about being drunk with a girl. That's all we wanted.

Take a listen to 'Under Cover of Darkness.'

Tracks

1.) Machu Piccu

2.) Under Cover of Darkness

3.) Two Kinds of Happiness

4.) You're So Right

5.) Taken for a Fool

6.) Games

7.) Call Me Back

8.) Gratisfaction

9.) Metabolism

10.) Life is Simple in the Moonlight