Archive for the ‘Album Review’ Category »
If your tolerance for preciousness lies somewhere between Jens Lekman and Belle & Sebastian, then Magic Kids’ debut LP, Memphis, is just the album for you. “Superball” and “Good To Be” are relentless grin-inducers that don’t waste a single note, while the buzzed-about “Summer” succeeds mostly in its final minute when the acoustic and timpani build into twinkling, girl-group harmonies. Dense instrumentation and familiar harmonies are prevalent throughout, but tracks such as “Hey Boy” and “Hideout” offer just enough twists to keep them from becoming Beach Boys also-rans. Part of me thinks Memphis may have been better off seeing a May or June release, but good luck finding a more effervescent bookend to the Summer of 2010.
Download:
Memphis is available 8/24, on True Panther
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“Boy” and “Too Dramatic” are arguably the finest tracks on the album, both upbeat, surprising, and immensely precise. From the synths on the back half of “Foolish” to the Stevie Nicks sound-alike, “You And I Know,” The Orchard’s middle-third slightly delves into 80′s rehash, before “Shadowcasting” and the Rostam Batmanglij-produced “Do You Remember” pick things back up. There are a few issues with singer Wes Miles’ penchant for falsetto, and a couple of the tracks drag on a bit long, but ultimately The Orchard is a rewarding and promising step in the young band’s career.
The Orchard is available August 24th, on Barsuk
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High Violet – Album Review
Steeped in dark majesty, High Violet, The National’s fifth full-length, finds the band sucessfully moving to even darker territory than Boxer and Alligator.
Over their career much of the band’s appeal has been derived from singer-songwriter Matt Berninger’s emotive baritone, ruminative storytelling, and sometimes poetically knotted lyrics. High Violet is no different. Though a measure of suspension of disbelief is necessary to buy that he endures so much torment and heartbreak, his unwavering commitment to the darker stuff ultimately sells the material. Berninger is above all an able and agreeable vehicle for melancholia.
To focus on Berninger sells the band (two pairs of brothers) short. On top of standard rock components they incorporate horns, keys, and strings, creating a thorough and dexterous framework on which Berninger can hang his weary wares. Songs like “Afraid of Everyone” and “England” work on the strength of the instrumentation.
If there is a problem it is that Berninger, at times, takes poetic license too far. The girls in “Lemonworld” apparently live in said world, whatever that means. Also, a swarm of bees carry Berninger to Ohio in “Bloodbuzz Ohio,” again, no telling what that means. With a less enunciated singer it might not matter. Not so with Berninger.
A minor complaint as High Violet is a career highpoint for the band. Having eschewed the likes of some of their comparatively catchier compositions such as “Lit Up,” or “Mr November,” favoring instead a collection of songs that refuse even somewhat easy answers or quick uplift, the band establishes themselves as the preeminent purveyors of mature, serious indie-rock. Where the band goes from here it’s hard to say, though as it stands they are in fine form.
“Terrible Love”
“Bloodbuzz Ohio”
James Murphy’s latest record as LCD Soundsystem parallels his previous album Sound of Silver in that it is an often brilliant, always self-aware, and sometimes puzzling set of songs.
Beginning This Is Happening with “Dance Yrself Clean” was a clever move by Murphy, as it may not have resonated past track 5. The opener dares you to turn up the volume before exposing its true identity. I won’t spoil the ending, but it’s perhaps the most thrilling reveal I’ve heard in all of 2010. Following is “Drunk Girls,” which offers only one thrill; the one I get from pressing the “Next” button on my iPod.
Murphy’s songwriting has always been entirely unquantifiable as he coasts from quasi earnest to sly to smart-ass in a matter of three songs. On This Is Happening, you can hear this lyrical evolution beginning with the Thomas Dolby-aping “All I Want” and ending in “Pow Pow,” on which Murphy hilariously sing-speaks “We have a black president and you do not, so shut up.”
The production on This Is Happening is even denser than Murphy’s previous output, most notably on album highlights “All I Want” and album closer “Home.” The former begins with just drums, with Murphy carefully adding broad guitar strokes and keys, before culminating in a wailing wall of sound.
If “Home” is in fact the last track Murphy has put to tape as LCD Soundsystem, then he’s leaving on a high note. This Is Happening, along with Sound of Silver, combine to offer a nearly unrivaled tandem, that should keep listeners content for years to come.
Or you know, until the next big thing comes around.
Listen:
LCD Soundsystem – “Dance Yrself Clean”
LCD Soundsystem – “Home”
Buy This Is Happening on iTunes.
Buy This Is Happening on vinyl.
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The pursuit in which fans of The New Pornographers seek out the songs in which their favorite individual (Bejar, Case, Newman) takes ownership might well be sidelined until the band drops their next album. Together holds true to its name and features a more unified sound than in the past. You won’t find so jarring a shift for example as the one on Twin Cinema when the Bejar-led delirium of “Jackie, Dressed in Cobras” immediately follows the indie-pop rouser “The Bleeding Heart Show.” Bejar has always been the joker in this outfit and those claiming allegiance to the indie-troubadour could come and pick out his offerings–sometimes just by reading the song titles–and move along.
While you can still read “Silver Jenny Dollar” and know that’s his domain it’s not a Bejar-song the way “Myriad Harbour” is a Bejar-song. Same goes for Case. While she is featured on many of the songs and possesses a voice that simply doesn’t disappear in the mix, there isn’t a song on Together akin to “Mass Romantic” in which she goes full-tilt. This toning down of the individual players asks that the listener mine Together for more subtle pleasures (excepting of course “Crash Years” and “Your Hands (Together)”, two grabbers in the classic New Pornographers vein), this speaks not only to artistic maturity that comes with age and experience, but the success the three principals have found on their own or with other groups. They’re apparently comfortable blending in now.
The consensus so far is that Together is a return to form after the disappointing Challengers, something this reviewer finds problematic, having enjoyed Challengers and to this point having not found a song on Together that bests “Myriad Harbour.” If you mean Twin Cinema-form then yes, this is a return to form though Together is not quite as energetic. And, if you come to The New Pornographers by way of fandom for Bejar, Case, or Newman, you won’t be able to cherry-pick so easily. Together asks you stick around for the album.
The Dead Weather’s new album Sea of Cowards finds Jack White and friends building on the eerie swamp blues of their debut, Horehound. Where Horehound will likely be a footnote to White’s career, Sea of Cowards deserves a slot right beside Broken Boy Soldiers and Icky Thump, as highlights of his post-Elephant later era. The new LP finds White stepping out from behind the drum kit that felt so inhibiting on Horehound, and reclaiming his predestined position as frontman.
It’s not that Alison Mosshart can’t carry the load; she’s proved an electric lead on several fantastic Kills records and she definitely pulls her weight on Sea of Cowards. But when you’ve got arguably the most charismatic singer/guitarist of the last decade buried behind the kick, the music suffers. On Sea of Cowards White shares the vocal duties with Mosshart and the results are immediately more captivating. It helps too that the riffs are far more accessible than those on Horehound. From Jack Lawrence’s fuzzed bass on first single “Die by the Drop” to the post-breakdown guitar on “I’m Mad,” this album is filled with unmistakable White Moments. Not convinced? Check out the solos on “Gasoline” and “Jawbreaker.”
As with any new venture, it takes time to get to know your associates and Sea of Cowards is the sound of a band that has done just that. They’ve ironed out the wrinkles from Horehound and have made a record that dares you to turn up the volume.
Listen:
The Dead Weather – “Blue Blood Blues”
The Dead Weather – “Jawbreaker”
Buy Sea of Cowards at iTunes.
Buy Sea of Cowards on vinyl.
With their fifth studio album, Heaven is Whenever, The Hold Steady have declared that the bar set by 2008′s Stay Positive is the new standard and you should set your expectations accordingly. For those that were not slightly disheartened by Stay Positive, Heaven is Whenever will likely be a disappointment. On the other hand, if you thought Stay Positive was an uneven album filled with some glorious highs and some crushing lows, then have I got an album for you.
For a band whose albums have been led off with the likes of “Hornets!, Hornets!,” “Stuck Between Stations,” and “Constructive Summer”, Craig Finn and co.’s decision to begin Heaven is Whenever with the twangy balladry of “The Sweet Part of the City” sets a curious tone for the rest of the LP. From there it does get better though, with some vintage Hold Steady rockers such as “Soft in the Center,” “The Weekenders,” and “Rock Problems” reminding us why we liked the band in the first place. These tracks, along with first single “Hurricane J,” would fit right in on Separation Sunday or Boys and Girls in America, the apex of Hold Steady records. The band couldn’t have found a more suitable title for album closer “A Slight Discomfort,” which is exactly what I felt after sitting through the meandering seven-minute track.
Heaven is Whenever is recommended for fans who have enjoyed the polarizing band’s previous albums, but those looking for some growth or maturity out of The Hold Steady have come to the wrong place.
Listen:
The Hold Steady – “The Weekenders”
The Hold Steady – “Soft in the Center”
Buy Heaven is Whenever at iTunes.
Buy Heaven is Whenever on vinyl.
Kevin Drew and co. are back with Forgiveness Rock Record, their most comprehensive effort to date. Sprawling over fourteen tracks, Broken Social Scene’s latest features the usual suspects (Canning, Haines, Whiteman) along with some fresh faces (John McEntire, Sam Prekop).
Where previous BSS albums have explored and employed space to achieve atmospheric highs, Forgiveness busts out of the gate with the immediacy of opener “World Sick” and doesn’t look back. This exhaustive set continues with “Chase Scene,” in which BSS do their best Fleetwood Mac-in-outer-space impression, followed by the driving quirkiness of “Texico Bitches.” “Forced to Love,” “All to All,” and “Art House Director” provide the heart of the lineup, with about 8 guitars, Lisa Lobsinger’s gorgeous vocal, and a Clarence Clemons cameo**, respectively.
“Meet Me in the Basement” is an instrumental powerhouse which immediately recalls the Newport Folk Festival scene in I’m Not There (3:00 minute mark), only with a gaggle of scruffy Canadians in place of Cate Blanchett. Contributions from Leslie Feist, Amy Millan, and Emily Haines are fairly limited throughout the LP, with Millan & Feist relegated to background duties, and Haines getting the nod on the electro-tinted “Sentimental X’s.” Though the album slightly suffers from a bloated tracklist, Forgiveness Rock Record is an enthralling set that is not to be missed.
**This is entirely unconfirmed.
Buy Forgiveness Rock Record on iTunes.
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Download:
Modern folk music can be a tricky trade, with many contemporary artists coming across as lifeless, unoriginal, or too densely orchestrated. Kristian Matsson, or The Tallest Man On Earth is none of those things on his new album, The Wild Hunt. Over 10 tracks, Matsson employs an acoustic guitar, his unique singing voice, and little else to attain a fresh folk sound that is wholly Americana, which is interesting seeing as though he is Swedish. Mattson’s vocal style is definitely unorthodox, but it complements the quiet guitar picking and strumming well, particularly on highlights such as “Burden of Tomorrow” and “King of Spain.” Lyrically, The Tallest Man continues in the tradition of his previous LP, 2008′s Shallow Grave, with dreamy, poetic words, which are deserving of the spotlight that they are given.
Buy the album on iTunes HERE.
Buy the album on vinyl HERE.
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Dr. Dog – Shame, Shame – Album Review
As advertised Shame, Shame is more personal and more introspective lyrically, refreshing because some of the topics and allusions employed on Fate were warmed over rock ‘n roll standards. Some insight into the band’s pysche and hometown (in the case of “Shadow People”) is a welcome change of pace. And yes, the production is also better, and focused on the quintet’s live-show acumen, these are songs with some space to improvise, and begging for live renditions. All of the above are dare-I-say indications of maturation and artistic progress. Problems do linger. The band is still too fond of lifting their influences without sufficiently adding their own touch. There are moments throughout Shame, Shame where you can’t help but take notice, thinking you’ve traipsed into a Beatles song. More troubling is the song-to-song exchange of vocal duties between Toby Leaman and Scott McMicken. Both test the limits of their range, which has its appeal, though Leaman’s Lennon-esque wail, and McMicken’s frank, sometimes whiney delivery clash more than compliment. To pick one and set the other as a capable backing vocalist might prove more effective.
Don’t get me wrong. Shame, Shame is an enjoyable album. Turn it up on some proper speakers and the rousing (though cribbed) vocal harmonies, left-field and catchy hooks, oddball affects (sampling a horse whinny on “I Only Wear Blue”), and agreeable demeanor (sing-along ready “Jackie Wants A Black Eye”) will combine for a listening experience that is refreshingly devoid of irony.
