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Acrassicauda - Heavy Metal in Bagdad

Wed, 27 Aug 2008 00:00:00 EST

]]>Heavy Metal in Baghdad chronicles the only heavy metal band in Iraq—Acrassicauda. Told through the eyes of filmmakers Eddy Moretti and Suroosh Alvi, the film follows Acrassicauda beginning in the last years of Sadaam's rule and progressing through to present day. We see the band experience the trials and tribulations that every aspiring band goes through, and also deal with the hardships of Iraqi life. Each member of Acrassicauda lives day to day through threats of violence from the government for growing their beards the wrong way, wearing their favorite bands' t-shirt, and dealing with the U.S. led invasion.

Heavy Metal in Baghdad uncovers a fresh perspective of the war, tackling topics like the suppression of free speech and the country's progression towards "Democracy." Depressing and heart-warming at the same time this film proves that dreams can overcome even the most torturous of times.

OFFICIAL TRAILER

Elvis Costello - Momofuku

Wed, 27 Aug 2008 00:00:00 EST

]]>In some ways, Momofuku (named after the inventor of instant ramen noodles) is a throwback, with The Imposters helping Costello serve up some rockers that recall the good old days of the late '70s. Standout tracks "American Gangster Time" and "Go Away" are driven by strong rhythms, catchy melodies and Steve Nieve's trademark synthesizer sound. While none of the other tracks on the album reach the same energy level, several mid-tempo songs prove almost equally compelling. These include "No Hiding Place," "Pardon Me Madam, My Name is Eve," and "Turpentine," which makes especially good use of the album's backing-vocals "supergroup" comprising Jenny Lewis, Johnathan Rice and others.

Overall, Momofuku is surprisingly diverse, with selections ranging from "Song With Rose," a rollicking, fully orchestrated duet with Lewis, to the wistful ballad "My Three Sons" and Costello's turn as lounge crooner on "Harry Worth" and "Mr. Feathers." Not all of Costello's experiments work; the love ballad "Flutter and Wow" is borderline cringe-inducing, and a couple of other tracks prove impossible to remember even after several listens. However, the album's stronger material makes it worth a listen by all fans of Costello's work, including those who insist upon the superiority of his early albums.

Be Your Own Pet - Get Damaged EP

Wed, 27 Aug 2008 00:00:00 EST

]]>Listening to Be Your Own Pet's Get Damaged EP is much like witnessing somebody getting their ass kicked in the school cafeteria; you know you shouldn't watch, you know it's not funny, and you know you sure as hell shouldn't be knocking people out of the way to get a closer look, but somehow, you become mesmerized by the sheer chaos of it all.

Call it desensitization, call it heartlessness, call it any other undermining name you can think of, and Be Your Own Pet's songs will probably fall under the category. Surprisingly, though, this is what makes them so great. They take teen angst up a notch, actually skimming the point of psychotic, to deliver an in-your-face, rough and sarcastic, violent and twisted mess of perfect garage punk.

There's the incredibly catchy album opener "Becky," a tale of deceptive friendship bracelets, insincere yearbook entries, and a backstabbing ex-best friend, set to clashing electric guitars and percussions which showcase lead singer Jemina's raw and unconventionally great vocals. "Black Hole" experiments with sporadic percussion beats, heavy electric guitar riffs, and an overwhelmingly fast tempo, and album closer "Blow Yr Mind," although short, completely redefines party music.

These songs will leave you uncomfortable, confused, and virtually speechless. From start to finish the music comes in like a hurricane effect, enveloping you in the madness and then tossing you out without a care. It's addictive, it's fun, and it's fierce. Get Damaged EP proves that censorship is dying, and thank God for that!

Shearwater - Rook

Wed, 27 Aug 2008 00:00:00 EST

]]>Beautiful, haunting Rook has magnificently grandiose, forte moments that flow into and out of hushed and restrained areas. Shearwater's follow-up to their well-acclaimed 2007 expanded reissue, Palo Santo, replaces the lovely banjo accent piece on the aforementioned album with stately trumpet, fluid harp, and hammered dulcimer. Okkervil River members' band (not merely a side project!) for the most part keeps this album purely analog.

In the final piece of the album, "The Hunter's Star," Shearwater unfolds the most delicate and impacting moments on the disc. Lead singer Jonathan Meiburg oozes a warm, dark falsetto against ribbon-like strains of violin, piano, and minimal metallic percussion (by drummer Thor (!) Harris). Brooding upright bass low-notes (by Meiburg's ex-wife Kimberley Burke) create a dream-like stupor of buzzing amidst the ethereal tones. The depth of the album belies its succinct 35-minute duration, which makes this album all the more approachable.

War on Drugs - Wagonwheel Blues

Wed, 20 Aug 2008 00:00:00 EST

]]>Wagonwheel Blues is an extraordinary debut album full of beautiful, rustic shoegaze production and sharp, melancholy songwriting. The trio's scope of recordings ranges from the environmentally concise, "Taking the Farm," to the reflective instrumental interlude of "Reverse the Charges," peaking with the expansive chronicle of personal discovery in "Show Me the Coast." One album in (all right, and one EP), War on Drugs have hit their stride, nestling into their spacey, lo-fi corner of the music scene with cat-like ease.

Cohesive and nimble guitar punctuations, coupled with a grainy haze of keyboards, merge War on Drugs' diverse set of past/present influences as found in lead singer Adam Granduciel's punkish Dylan-esqe vocals and the shimmering neo-psychedelic melodies of Echo & the Bunnymen. Though sometimes it seems he wants to be Adam Granduciel or Woody Guthrie—telling stories in a rambling quest for honor and art—War on Drugs are magnetic enough in their own right to quickly quell any thoughts of hero-worship.

Unfortunately, with the climate of the omnipresent "next big thing" on the mind of music bloggers worldwide, Wagonwheel Blues might become one of the best new albums you probably didn't hear in 2008.

Tiger! Shit! Tiger! Tiger! - Be Yr Own Shit

Wed, 20 Aug 2008 00:00:00 EST

]]>Maybe I am asking too much of a band with such an auspicious name. Truly, it makes me giddy like Giraffes? Giraffes! Maybe I just like animals? But I digress. Back to the question at hand of asking too much, which is mainly an instance of irony. The definition of irony is a band putting out an album called Be Yr Own Shit and sounding so unashamedly like The Cure's first album.

While there are traces of disparity between the two albums provided by neat little handclaps and electronic trimmings that manage to make it playfully kitschy, Be Yr Own Shit just ain't its own shit. A vocalist who appears to throw chaos to the wind in shouting bursts accompanied by a bouncy romp of thin guitar has just been done so many times. Most of these bands have the chops to make it their "own shit." Few have the brains or the will to be anything more than a step beyond an '80s cover band. These tigers just may remain caged until they find themselves out.

Hour Of The Shipwreck - The Hour Is Upon Us

Wed, 20 Aug 2008 00:00:00 EST

]]>Hour Of The Shipwreck makes for an interesting band. They have a full choir and classical musicians accompany the 5-member band, yet the undertones remain ambient rock, and in a post-modern way. Their music is haunting, to say the least. It feels that it sprang out of a thriller movie, ready to fill your heart with fear, or to devour you. Unfortunately, the style gets tedious after a while.

The music is an ambitious experiment of where rock could go in the future. It sports a futuristic sound, and the unpredictable twists and turns of the melody even has a certain jazz or cabaret feel. The standout track on the 7-song album is "My Fantasy," which is also the most easy-listening of the bunch. This is a respectful release from musicians who try to think out of the box and push the envelope. That is always a good thing.

The Walkmen - You & Me

Wed, 20 Aug 2008 00:00:00 EST

]]>Most bands claim to have a "sound" which usually ends up being described as a hybrid of other bands. The Walkmen are one of the few bands that sound like no one else. But that's not the interesting thing about them, what's unique is that within the "sound" they've created, they have managed to go so many places without deviating from its original integrity. It's easy for a band to experiment, and come up with new sounds, but what The Walkmen do is entirely different.

Everyone Who Pretended to Like Me is Gone first established the heavy wall of sound. The sound was the star of the show at first, and Hamilton Leithauser was a distant crooner singing about other people with no personal stake, almost a detached observer in the back ground yelling "Wake up!" The piano dominated the album, and musicianship was the real statement by the band.

The sound was further realized and cleaned up slightly for the classic Bows + Arrows. The band released their most defining songs to date with the explosive "The Rat" and "Little House of Savages." Leithauser was suddenly awake and pretty angry, confessing in a Dylan-esque drawl "What's in it for me? I came here for a good time, and you're turning me off."

2006's A Hundred Miles Off had many bright spots including the powerful "All Hands and the Cook," the Cash-esque "Brandy Alexander," and "This Job is Killing Me," but the band seemed to lose a bit of their focus. Tracks like "Tenley-Town" didn't work, and they seemed restless.

The guys were at Noise Pop this past spring, and while their live sets are always a must see, they really killed at the Independent that night, and they hardly played any older tracks, which usually makes for a bored audience.

The songs that resonated so well with the audience were off of You & Me, it was like the audience had lived with them for years. The band played with so much confidence and passion it was hard not to be pulled in. The new songs still exist in the framework of the sound, but the band has become so much more intimate, as the title would suggest. The album sounds absolutely amazing and feels like a classic "American" recording that exists without an expiration date. It sounds like it could have been born at the same time as rock 'n' roll itself, or completely contemporary. There is a patience within the album that other bands would kill for. The wall of sound that the band had incorporated as a signature is reserved when they wind up and need to break out, but every instrument is given room to breathe like never before, and Leithauser's voice is the anchor.

"Donde Esta La Playa" starts the record with a heavy bass line before Leithauser's voice cuts through—"It's back to the battle today, and I wouldn't have it any other way." But what was once a distant Leithauser lyric moves into something personal and narrative and he sings in a bridge: "I'm dancing through this, this lovely wooden floor...there is still sand in my suitcase...there is still salt on my teeth...I kissed her in the window...and she covered up her face, she's pretty and cherry...I know that your married the rings on your hand, so I didn't stay 'til the end."

A classic rambler in the vein of Kerouac narrates the album, and is hopeful and romantic in a way that is so different from anything the band has done to this point. By the time our rambler sings about the hopefulness of the "New Year's Eve" we're almost giddy "Out of the darkness and into the fire. I tell you I love you, and my hearts in the strangest place, that's how it started. And that's how it ends. And I know you're with me, it's point of pride, and it's louder than lightning, in this room of mine." It swells and sways so beautifully—it's grand stuff. Easily the soundtrack for an edgy wedding, that is both beautiful and powerful, with more than a dash of grace.

The Faint - Fasciinatiion

Wed, 13 Aug 2008 00:00:00 EST

]]>The Faint’s first album in four years is a surprisingly satisfying work of mostly mid-tempo, ominous electronic pop with catchy vocal melodies, thoughtful lyrics, and only occasional appearances from the dance-punk guitars of albums past. Fasciinatiion opens with “Get Seduced,” an irresistible takedown of society’s obsession with celebrity, followed by creepy futuristic visions in “The Geeks Were Right.”

Although it may seem risky for a dance band to turn down their energy level, the slowest tracks actually turn out to be among the strongest: the robotic, hypnotic “Fulcrum and Lever” draws you in as singer Todd Fink tells the story of a childhood accident in a near-monotone drone, while “Fish in a Womb” sets a newborn’s perspective to sparkling, minimalist accompaniment.

On the album’s most upbeat track, Fink fights with a lover, insisting he’s right (“I Treat You Wrong”); he later apologizes, saying “I never really thought you were psycho” (“Psycho”). “Machine in the Ghost” and “Mirror Error” find Fink getting all philosophical, while closing track “A Battle Hymn for Children” gets overtly political, asking, "If it's true that God roots for the U.S.A. / Is every bomb we drop in God's name?"

Fasciinatiion shows that’s okay to take things down a notch; slower tempos mean more time to ponder Fink’s deep thoughts. So put on those glasses that make you look smart, break out the weird robotic dance moves, and get down.

Rookie of the Year - Sweet Attention

Wed, 13 Aug 2008 00:00:00 EST

]]>It's not often that a sophomore album contains enough of a band's core elements to satiate fans, while still heralding enough musical growth to please critics. Rookie of the Year however, have achieved such with their latest endeavor, Sweet Attention.

Taking their dominantly acoustic sound one step further to make way for the inclusion of electric guitars, drums, fuzzy synth, dance beats, and occasional hand claps, Rookie of the Year craft a collection of songs reminiscent of Friday nights and sun-soaked afternoons.

Nearly mastering the equation of "catchy" on the first half of the album, especially with the beautifully orchestrated and melodically driven "Asleep With You," the rest of the album seems to fall short. It's as though the second half can't live up to the band's initial promise of tracks that you can't help but go back and play again and again. While this discrepancy doesn't completely take away from the overall sweet pop-punk sound and skillfully constructed multi-layered harmonies, it still looms heavily enough in the shadows to leave a slight imprint.

Sweet Attention probably won't find itself permanently rooted into your CD player, but the time it spends there will certainly make you smile and nod along; a quality that, in the end, makes up for the few areas where the album lacks.

Tippy Canoe and the Paddlemen - Parasols and Pekingese

Wed, 13 Aug 2008 00:00:00 EST

]]>Oakland's own ukulele mistress, Tippy Canoe (a.k.a. Michele Kappel) coos with a sultry rockabilly flair on her latest album. Parasols and Pekingese, her disc with the Paddlemen, ranges from juke-joint rocking ("Mass Transmission") and smoldering blues-waltz numbers ("Sleep, Sleep My Dear") to calypso uke-jazz ("Moodish Me") and a jaunty, Edgar Allan Poe-minded, uke-brass love invitation ("Neighbor of the Telltale Heart").

Occasionally she may wander off-key, but Tippy's lead vocals are a strong central core to these songs. Her 1940s tone recalls a pinup sexpot who knows her way around the ukulele. Even though Tippy plays many roles on this album (including co-producer), she has help from her buddies. For instance, Mikie Lee Prasad (guitars, multi-instrumentalist, co-producer) sings the lead on "Monday Night Man," a junk band sound featuring a New Orleans brass edge courtesy of Erik Jekabson on trumpet and Yanos Lustig on alto and tenor saxophones. The mixture of retro flavors on this album combined with Tippy's natural flair makes this disc most enjoyable.

Walter Meego - Voyager

Wed, 13 Aug 2008 00:00:00 EST

]]>Back when video games featured ecstatic electronic celebrations rather than modern rock soundtracks, did you ever find yourself racing to beat a level simply to enjoy those high-pitched moments of revelry? Sure it was satisfying to save the princess or earn cred at your local arcade, but those who secretly loved the cheesy moment-of-achievement song will enjoy the childlike pop sensibility of Walter Meego's Voyager. The collaborative effort of Colin Yarck and Justin Sconza, the music plays like an invitation to come along on a magical journey, especially with its spaceship blastoffs and mechanic choirs that sound like a room full of robots. No strangers to that love of sound-mashing and sonic experimentation essential to any electronic band, the duo also bring in Sconza's soothing vocals and a talent for crafting catchy pop songs. The result is an ultra-modern take on Beatles-y song construction, with the synthy blips and beats necessary to send listeners to the dance floor.

And dance music it certainly is, though funnily enough they don’t actually have a song that urges the crowd on to that direct effect like Justice’s “D.A.N.C.E.” or Hot Chip’s “Ready For The Floor.” Similar in style and sound to the former, Water Meego also remind of The Knife when they layer up the shadowy vocals on “Letting Go.” Album opener “Forever” blends electronica and rock as it soars through what sounds like a re-working of “Jessie’s Girl,” with mimicking guitar parts that eventually break into high-pitched synth exploration. “Tomorrowland” takes us again to our favorite moments from childhood with its schoolyard noises and merry march that recalls Disneyland’s infamous Electrical Light Parade, though much like that cringe-inducing themesong the robotic elation can be somewhat creepy. In tune with Walter Meego’s lust for the childlike, the lyrics on most tracks visit amateur notions of life and love, substituting sick beats for profound poetic content. But for a dance record this is as it should be, and Voyager is sure to rocket you directly into a night of carefree flailing fun.

Priscilla Ahn - A Good Day

Wed, 6 Aug 2008 00:00:00 EST

]]>Tea parties with fairies, sunlight sparkling off dew-stained wildflowers, tired towns, and awkward high school basement parties are just a few of the images evoked by the eleven tracks of Priscilla Ahn's debut, A Good Day. Relying heavily on acoustic folk influences, but incorporating beautifully orchestrated piano and percussion, sprinkled with the occasional squeal of the harmonica, Ahn creates a solid musical structure on which her voice dances lightly, barely touching the surface before floating above it in melodic waves.

There are moments of simplistic beauty, such as the sleepy "Leave The Light On" and the sun-kissed "Find My Way Back Home;" moments of innocence, such as the self-consciously sweet "Wallflower" and the daydream-laden "Red Cape;" and moments of reflection, most notably the quietly epic opener "Dream."

A Good Day shimmers with imagination and exudes the rare quality of maturity dressed up in innocence. Ahn's songs are honest and hushed, playing out like the most beautiful of secrets, with earnest lyrics to match. Stunning at its highest points, and captivating in all other regards, this album tells a story, and will leave fans pining for a speedy sequel.

The Grouch - Show You the World

Wed, 6 Aug 2008 00:00:00 EST

]]>Living Legends founder—The Grouch offers up Show You the World, a 15-track album heavily inspired by the birth of his daughter, Rio (2006). Despite what the cover looks like, this is not a children's album. Featuring appearances from MURS, Raphael Saadiq, Mike Marshall (Timex Social Club), Marty James (One Block Radius), Abstract Rude, and fellow Living Legends members Bicasso and Scarub, The Grouch gets a little help from his friends here. Show You the World tackles familiar topics for the back pack conscious rap crowd. "Clones" talks about breaking molds and a new sound. "Artsy," the true stand out on the album, attacks artists who pretentiously try to be original. It's a classic diss song. "Mom & Pop Killer," speaks about the gentrification of Mom and Pop stores... an all too familiar problem these days.

Apollo Sunshine - Shall Noise Upon

Wed, 6 Aug 2008 00:00:00 EST

]]>The 16 tracks on Shall Noise Upon hardly make sense. And it's not so much Apollo Sunshine trying to branch out or reach beyond their safe, sunny-rock sound for a different flame of inspiration; they're just giving their unique neo-psychedelic sound an unconventional smattering of western, electro-clash, R&B, etc. Whether they're donning chaps and spittin' chew ("Brotherhood of Death"), or masquerading as marching mariachis ("Honestly"), or even offering up one gigantic cosmic wink at Funkadelic's groove machine ("The Funky Chamberlain (Who Begot Who)")—Apollo Sunshine deserve our attention.

And if the nervousness of the album's trickled instrumental interludes doesn't annoy, rest assured your patience will be rewarded with the highlight of the album, "Mermaid Angeline." This rollicking piece of '60s-inspired three-chord acid pop signifies that Apollo Sunshine can still strive to do more with less, especially with a well-crafted tune that channels the Beatles' flower power and the Kinks' rambling spirit so well.

With the help of collaborator/co-producer Quentin Stoltzfus of Mazarin, Shall Noise Upon is a conceptual meandering of a band that is bound by no afterthought or conclusion, only a present state of mind.

Dream Bitches - Coke-and-Spiriters

Wed, 6 Aug 2008 00:00:00 EST

]]>New York City-based band Dream Bitches revisit their childhood on their second album, Coke-and-Spiriters. Their playground rhymes and beach-y '60s sound take listeners back to the days of recess, complete with jump rope, hand games, and tag. Dream Bitches frolic and romp through each song, seamlessly pulling the album together. Their light-hearted pop leans towards Dressy Bessy and Go Sailor, yet their music feels effortless and organic. Vocalist Yoko Kikuchi has a knack for writing lyrics, especially the ones that shine in the addictive songs "Maniacal Mechanic" and "Sweet Anneth." "Spoke on a Wheel" is disjointed, calming, and pleasant, evoking the spirit of The Murmurs. Dream Bitches are successful in combining the innocence of childhood with the jaded feelings of adulthood, resulting in simple and honest pop.

Geographer - Innocent Ghosts

Wed, 30 Jul 2008 00:00:00 EST

]]>With their fine debut album Innocent Ghosts, Geographer's talent appears to be the employment of a tight, catchy musical phrase that is toyed with until it carries the song into a truly rockin' high. A number of tracks begin with the subtle tinkling of a few piano notes, some synthy blips, or cello whines, and with the vocals slyly dripping in, the song gains speed just as it reaches its second verse, at which point it's time to wag your head along. The running momentum that the band reaches at its climactic points is reminiscent of the Arcade Fire, as the parts come together to deliver a cathartic payoff.

Lovely vocal talents dominate the album, as singer Michael Deni explores themes of love and loss with his soupy, trustworthy coo. Softly delivered and yet with a strong conviction, he seems empowered by the lessons and experiences the lyrics suggest, so that he quickly becomes a trustworthy narrator. Tracks that include the gorgeous, hint-of-rasp voice of former band member Kacey Johansing are standout, as the harmonies explored when the two combine their abilities are quite catchy. On other songs, Geographer can sound like a less dense version of The Hidden Cameras with their shared use of driving piano lines, sheepish guitar, and the vocal similarities. Excellent cello playing lends an element of sentimentality to the songs. Despite moments of muddiness, Innocent Ghosts shows promise.

Jakob Dylan - Seeing Things

Wed, 30 Jul 2008 00:00:00 EST

]]>Jakob Dylan's Seeing Things shows movement away from the Wallflower phase and towards the bona fide folk star zone. The album sounds like the perfect blend of Jack Johnson and Dylan's own father, while the drone in the back of Dylan's throat creates the singer's own unique voice.

Standout tracks include "Everybody Pays As They Go," a cautionary tale in which the lyrics come to the forefront, and "Something Good This Way Comes," which was recently featured as a free iTunes song from Starbucks. Both songs show the older, folk influences on the album. More poppy songs such as "All Day and All Night" would even appeal to fans of Jason Mraz and Jon McLaughlin. The light, almost inaudible piano work in "The Valley of the Low Sun" brings a softer touch to the song, but the mix shuffles it into the background. The kink of the album comes in its guitar lines—through most of the album, it sounds like the same guitar rhythm played at different tempos—but this does not make the songs any less enjoyable.

For fans of Jakob Dylan himself, this album may be a hard pill to swallow. It's unexpected, unapologetic and mature. For fans of laid-back folk songs, however, this album fills a hole much emptied in the post-Bright Eyes movement.

Wolf Parade - At Mount Zoomer

Wed, 30 Jul 2008 00:00:00 EST

]]>Montreal's Wolf Parade gave us a thrilling and unique perspective on their debut Apologies to Queen Mary. It was hard not see Lennon/McCartney parallels with the two lead singer/songwriters, as they were both exceptional and competitive. Each one bringing their own strengths to the table; Dan Boeckner brought accomplished guitar rock... a knack for melody and a vulnerable drawl, while Spencer Krug was more experimental in song structure and musicality. Banging like a mad man on his keyboard. They were like a tag team wrestling duo that backed each other on almost every song, pushing each other further than possible as a singular unit.

Even though they traded off songwriting and lead-singing duties there was an impression that if Spencer Krug was singing lead, Dan Boeckner was right there to offer harmonies. The harmonies are nearly absent on At Mount Zoomer, and, at first I was put off by this. It wasn't until listening to the album for hours straight that I began to hear the collaboration. It's not a vocal one, which I believe many fans had hoped for, but the collaboration yielded on Apologies to the Queen Mary takes on a different form here, one that is not immediately evident, but is more organic and ultimately creates a more satisfying album.

All of the members of Wolf Parade have some great side projects that are worthy of their talents, but lack a little something. On Krug's side projects (Sunset Rubdown, Swan Lake, Frog Eyes) he is like the hunchback of Notre Dame (seeing him on-stage evokes images of this as well), brooding and romantic yet somewhat esoteric. Boeckner's side project (Handsome Furs) is accessible and solid, but slightly homogeneous. On At Mount Zoomer the guys' shortcomings are swept away, and the synergy of the band as a whole sounds incredible. Krug is LIGHT here! Both lyrically and on the keyboard. It's a crazy, yet welcome change. Boeckner, is pure seething exhaustion, suddenly an iconic frontman. Krug and Boeckner will receive a lot of the credit but everyone shines here, including Arlen Thompson who produced the lion's share of the record.

The album begins bitter sweetly with "Soldiers Grin." A cute synth and guitar line that builds into a tight rhythm. The band pull it off so seamlessly, and it's unlike any sound they've done to this point, but so successful. (If Apologies to Queen Mary experimented with a loose wall of sound, At Mount Zoomer cleans everything up into a nice efficient package where every piece and movement is given room to breathe). The song later meanders into some lonely chords before Boeckner pops the balloon "with what you know, can I only lead one thing. Running from the place that you sprang from." And then we get a hard jam. Oh shit, trouble. The patience and timing here is unlike anything on the frantic Apologies to Queen Mary, and examples of this growth are all over the album.

If Wolf Parade has a "voice" and perspective it's that of disenchanted urban life. The guys see the city as a Gotham-like cesspool of excess materialism filled with nervous people, who can't sleep. Like modern day Thoreau's, they long for a simpler life closer to nature. Krug flees from the city to the dessert on "Call it a Ritual." While Boeckner is hopeless on "Language City." "We're tired we can't sleep, language city don't mean a thing to me...all this work here just to tear it down...we are not at home."

Only on the albums closer "Kissing the Beehive" (the only song the two co-wrote) do we get a vocal collaboration, and once a hopeful Krug that earlier sang about making "angels in the snow" is back to his brooding "I wish I could believe in you...I wish I could believe in who you are."

The guys are shining on At Mount Zoomer, and have produced an album that is intertwined and follows a path from beginning to end. They promised Sub Pop "No Singles" and delivered a masterful album.

Oneida - Preteen Weaponry

Wed, 30 Jul 2008 00:00:00 EST

]]>Oneida continues its grinding, expansive assault on experimental post-hardcore rock with Preteen Weaponry. The album follows the charming 2006 release Happy New Year, which presented more playful and decentralized songwriting from the Brooklyn threesome.

Oneida bears no linear musical thread with their current release. In simplest terms, Preteen Weaponry is almost 30 minutes of confrontational droning guitar madness split among three (almost) equally long fragments: I, II, and III. In less simple terms, Oneida is commanding a lot from its audience. Regrettably, patience isn't always a virtue in our spastic consumer society. But loyal followers of Oneida will find the heart and soul of this band retooled and humming in excellent sinister health.

Chapter I begins the Preteen assault with Kid Million's streetwise drumming at the focus as the song builds tension and verve, muscling its way straight into Chapter II. The mid-section of the album bulges and recedes, bulges and recedes—like crashing waves on a helpless wooden dock. That is until the mood lightens considerably in Chapter III, with noisy organic samples and unruly guitar nuances taking over, which makes for a sweet ride to the finish line.

Preteen Weaponry is ultimately a test of patience, no matter how you structure an album this rewarding. And if Oneida's genre-defying catalogue has taught us anything, it's that audiences need to be pressed forward, beyond their comfort level. Preteen Weaponry isn't a landmark effort, but by the time the band's audience and the press usually come around, Oneida is quickly recording its next mini-revolution.

Thriving Ivory - Thriving Ivory

Wed, 23 Jul 2008 00:00:00 EST

]]>With frequent radio airplay of "Angels On The Moon" and a nod by VH1 as an artist "You Oughta Know," it appears this band from San Francisco is living the dream. As an album, Thriving Ivory is a good mix of powerpop and alternative rock. Marketable, easy listening, catchy melodies, and amazing tempos. The piano and guitar arrangements are excellent. The music in itself is one of the best pieces I've heard this year. Do not miss a single track: "Day Of Rain," "Light Up Mississippi," "Unhappy," "For Heaven's Sake," "Twilight," "Hey Lady," "Runaway" and, of course, the one you may have seen on TV—"'Angels."

Apse - Spirit

Wed, 23 Jul 2008 00:00:00 EST

]]>Spirit is dark, floating and lethargic at times. It's lulling. "Blackwood Gates," a nine-minute song with echoing lyrics, is the song that brings visions of Pink Floyd to the forefront. It's near spiritual in its occasional drum beats and the slight feedback over the vocals. The tambourine serves as a marker that you're not, in fact, listening to a loop. The atmospheric break at the six-minute mark takes the listener to a completely different place. This is the soundtrack to a haunted house—this album IS a haunted house. Other standout track "Shade of the Moor" continues the trance that the album puts the listener into. When listening to the track on headphones, it moves from ear to ear, enchanting and disorientating the listener in the best way possible.

The album's press release promises "helium voices," "shimmering melodies," and "catharsis all the time." While I wouldn't apply the word shimmering to this album, all other promises are kept.

The Long Blondes - Couples

Wed, 23 Jul 2008 00:00:00 EST

]]>If The Long Blondes' debut Someone To Drive You Home was a boppy, schoolyard-informed statement on lessons in love and womanhood, then their follow-up, Couples, is a glance into the tumultuous reality of adult relationships. They created a distinct mental place with their first album that brought the listener right into the band's world, and Couples, with its personal lyrics, accessible themes, and self-referential closeness, does much of the same. Various pop culture clips and references exploring themes of love, beauty and sex drag the listener into the contextual society among which these life-moments occur. The Long Blondes have graduated to the next stage of dating woes, and not without tinges of nostalgia, as the song by that name asserts.

They've grown musically as well, for while many of Couples' tracks preserve the gooey anthems of STDYH, their newfound maturity is reflected elsewhere in style and through more layered production values. Lead singer Kate Jackson has moved from her playful, Gwen Stefani-ish cry to a ladylike tone that can reach orgasmic heights at times, so much so that she sometimes sounds like a different person entirely. Spacey, synth-soaked numbers like "Century" and "Erin O'Connor" bring their sound blazing into the new era, while the apocalyptic robot march of "Round The Hairpin" presents an ominous look at society's trials. Certain tracks with their computer-y blips and organ hum are appropriate for the dance floor, and others incorporate a strong guitar element that can recall the Pixies, but most still contain the band's signature strong bass lines.

Davey La - Rotten in Denmark EP

Wed, 23 Jul 2008 00:00:00 EST

]]>British singer-songwriter Davey La, formerly of the band Ambershades, is now a solo artist based in NYC. The four tracks on his debut EP, Rotten in Denmark, showcase his incredible vocal range and astute pop sensibilities.

The title track, which is unquestionably the best on the EP, is a driving, Strokes-esque rocker with a deliciously catchy falsetto chorus. La's voice drips with charisma as he sings, "Oh my god, I'm on fire / Put me out." On "Ichi Ni San Shi, Go!" La's voice ascends to glorious, almost operatic heights before plunging into an energetic chorus.

The next two songs are of the slower, epic movie soundtrack variety. "Fires" is a Coldplay-style piano ballad with a huge chorus that really lets La's vocals shine, and "Don't Let Me Down" (the EP's only live track) features a heartfelt plea to "the only one who knows where I'm coming from."

It's not hard to image him making it as a successful solo artist, but it will take a full-length album to determine whether that success is more likely to be of the indie or mainstream variety.

A Coastline Ending - In the Name of Progression

Wed, 16 Jul 2008 00:00:00 EST

]]>Pop-punk is in a desperate place. With each new band that emerges struggling to fit the mold of the last, the genre has digressed to a uniformed equation, making it nearly impossible to decipher one band from the next. A Coastline Ending is a welcome exception.

With their debut, In The Name Of Progression, A Coastline Ending have taken this basic pop-punk equation of electric guitars and driving vocals, infused it with their own distinct elements, and refined the whole thing for a result that is both energetic and passionate, with solid vocals, layered harmonies, and instrumentals that range from electric, to acoustic, to electro-beats and synthesizers.

With the album's soaring opener "Made by Machine" setting the tone, A Coastline Ending takes listeners on a fast-paced, emotionally driven ride, accelerating on tracks such as "Breakdown" and "Brave the Tide," and slowing down only for the acoustically-steered "So Many Faces."

This is an album that deserves to be played at full volume, amidst a sea of people who want to have fun. Girls will fall in love with them, boys will want to rock out with them, and fellow musicians will salute them.

For a scene that was slowly succumbing to the "death by cookie-cutter" effect, A Coastline Ending IS the name of progression, and they couldn't have come at a better time.

From Bubblegum to Sky - A Soft Kill

Wed, 16 Jul 2008 00:00:00 EST

]]>A Soft Kill jerks you in with an infectious drag of power pop twinkle, only to exhale sour narrations of love, loathing, and life's simple pleasures. Mario Hernandez, the one-man driving force behind From Bubblegum to Sky, creates beautiful, messy chords and exposes personal discontent in one fell swoop. He's kept to a regimen of balanced and blissful '60s-inspired pop since his first release as FBTS in 2000, and A Soft Kill remains a steady inroad to achieving a stronger, more mature vision.

Hernandez's nasal voice, particularly on "My Je M'appelle," is so reminiscent of Robert Schneider from the Apples in Stereo I had to check my iTunes player, confirming it wasn't on random. But I have doubts that Mr. Schneider ever wrote anything as damning as the following from the tune "Flies on the King of the Failed": "You know I love it when you say you don't need me/You know I dig it when you say you won't see me/All of this so I can hear you say goodbye." Slightly disturbing, but hilarious nevertheless.

A Soft Kill is a quintessential power pop experience through every listen—if you find brooding lyrical gesturing humorous, of course. And with the addition of so many accompanying oooohs and ahhhhs invoking some serious '60s nostalgia pop from our heroes the Zombies or the Turtles, FBTS reaches for new heights, one break-up letter after another.

Me First and the Gimme Gimmes - Have Another Ball

Wed, 16 Jul 2008 00:00:00 EST

]]>Eleven years ago Fat Wreck Chords all-star punk supergroup released Have A Ball, and the hearts of fun-loving, Pabst chugging youngsters beat with the same syncopation of drummer Dave Raun's (Lagwagon) ferocious rolls. Simultaneously, artists like Neil Diamond and Paul Simon listened as their songs—which had been spun into oblivion via adult contemporary stations—got interpreted with enough passion and power to get even the most sarcastic Telegraph Ave. gutter punk singing "Sweet Caroline." Well, the boys, err, grown-ass men STILL playing punk, are at it again.

Have Another Ball was apparently supposed to be the inaugural Gimme Gimmes album back in 1997. We're not sure what to believe, frankly it doesn't matter. What likely started as accomplished punk buddies coming together to cover their favorite songs (pre-Guitar Hero, we might add) is, and continues to be, FUN. Sure their intentions may be tongue-in-cheek, but it's hard to deny the passion that emotes from singer Spike Slawson's gravely voice as he belts "Don't Let the Sun Go Down on Me." Oh, so punk-y.

Have Another Ball takes another stab at Diamond and Simon tunes. And Billy Joel and John Denver make a return to this commemorative album. The punk mash up of The Ramones' "Blitzkrieg Bop" and "You've Got a Friend" is the creative standout.

The Whitsundays - Self-Titled

Wed, 16 Jul 2008 00:00:00 EST

]]>Canadian band The Whitsundays are named after a group of islands off the coast of Queensland, Australia with quaint-sounding names like Plum Pudding Island and Dumbell Island. Their music has a sleepy quality, and sounds as if it has been funneled through a time machine, circa 1967.

The Whitsundays is one long bi-polar love note, swelling with feelings of happiness, devastation, and remorse. The album's lyrics are honest and biting, but somehow come across as sweet, thanks to vocalist Paul Arnusch's delivery. The opening track, "Loralee," tugs at listeners' heartstrings with the lyrics "You know I'd kill for a smile / It's better to have loved and lost / Than to have loved a ghost," while the song "Anitsocial" reeks of self-deprecation and boredom. The Whitsundays is a feathery, lolling tribute to all those who have loved and lost and loved again.

Junk Science - Gran'dad's Nerve Tonic

Wed, 9 Jul 2008 00:00:00 EST

]]>Sit back and enjoy a forty of Gran'dad's Nerve Tonic, Junk Science's new album. The duo met back in high school when Baja One stole a cassette of original beats from DJ Snafu and, the rest is, well, history. In early 2005, they won the NextUp Song Contest held by Scion for their track "Roads." After getting air play, a music video, and a marketing campaign with their song in it, Embedded Records took notice and re-released their debut album Feeding Einstein.

Now, here they are, rapping about Gran'dad's Nerve Tonic. A conceptual album that uses the tonic as it's main thread to sew all the songs together with the traditional Nuclear Family spirit. From "Word's From The Pedro (Feat. Cool Calm Pete)" which is a tongue-in-cheek advertisement for Gran'dad's Nerve Tonic. (Which is actually available from Six Points Craft Ales and made with the assistance of Junk Science.) One of the best songs on the album is "Jerry Maguire" which gives many creative ways to quit your job...think Canibus' and Biz Markie's "Shove This Jay-Oh-Bee." The album has bizarre interstitials, references, and clever lyrics. So sit back, listen, drink, and enjoy.

Amber Rubarth - New Green Lines

Wed, 9 Jul 2008 00:00:00 EST

]]>Like childhood doodles that progress to sophomoric watercolor strokes, and finally, mature oil portraits, Amber Rubarth has created a musical life sketchbook with New Green Lines, the follow-up to her 2005 debut, Something New.

With sometimes beautiful, sometimes quirky, always charming vocals, and lyrics that touch upon everything from love, to loss, to laundry, to crabs with "funny shells," Rubarth takes simplicity, paints it boldly on canvas, coats it with a shine of optimism, and allows it to dry by sunlight. The result is an album that exudes the color, creativity, innocence, and natural beauty that has gotten lost amidst the often-dark portrait of contemporary female singer/songwriters.

Relying heavily on acoustic folk influences, but dabbling in rhythmic drums, charming piano plunks, sliding electric guitars, jazzy vocals, and the slow, sad drawl of the violin, each of the twelve tracks contains a personality of its own, and while it can musically be deemed sophomoric, Rubarth's keen ability to write about the quiet hopes and secret longings every person feels but never dares to share, will reach listeners on the emotional level that the music itself can't quite evoke.

New Green Lines is all the vulnerable moments we share with our journals, the quiet Sunday mornings we spend dreaming as the sun rises, and the heartbreaks we learn to laugh about years later. With just one listen, this album will win your heart.

The Gaslight Anthem - Senor and the Queen EP

Wed, 9 Jul 2008 00:00:00 EST

]]>On the Senor and the Queen EP, The Gaslight Anthem pairs the gritty vocal style and hard-edged poetry of fellow Jersey boy Bruce Springsteen with punk-influenced instrumentation to create four energizing and sometimes epic tracks about love and late-night adventures in a bygone era of American life. The narrator of the driving title track addresses a lovelorn beauty with evocative imagery like, "Are you saying your prayers or are you glowing like the metal on the edge of the knife?" "Wherefore Art Thou, Elvis?" successfully captures the restlessness of a young man who "never felt right, never fit in." Borrowing a line from Rod Stewart's "We're Having a Party" as its hook, "Say I Won't (Recognize)" delivers a rollicking good time. "Blue Jeans & White T-Shirts" is an affecting ballad about the working-class "boys from Little Eden" that could almost be mistaken for an old Springsteen classic by someone who didn't know better. While this nostalgic approach may not be enough to build a musical career upon (something the band seems to be aware of), it makes for a thoroughly enjoyable EP.

Does It Offend You, Yeah? - You Have No Idea What You’re Getting Yourself Into

Wed, 9 Jul 2008 00:00:00 EST

]]>You'd think the world is getting tired of the rise of nouveaux indie-dance-rock acts, but the British music scene begs to differ. This year, Does It Offend You, Yeah? and their debut album You Have No Idea What You're Getting Yourself Into give us some more or less likeable dance music with a fistful of rock behind some '80s inspirations.

The album cleverly fuses the choral chants of The Rapture and the characteristic drums and bass of Death From Above 1979. On the other hand, the lyrics are very mediocre; the band's single "Let's Make Out" is just a straightforward example of the borderline-annoying repetition in verses. Thankfully, there are much more instruments than vocals in the majority of the songs. Furthermore the synthesizer-heavy music is just begging you to stomp about and not give a damn about what is being verbally screamed through the speakers.

I shake my head quite strongly in response to the band's bold name, but I do think the album is a few steps behind from finding its place in the shelves among indie-dance-rock classics. The band began work on this album with very high standards but did not quite meet them; perhaps the men aimed too high to be ranked among the likes of the aforementioned Rapture and DFA 1979, and the currently successful dance act Justice. Maybe someday DIOY,Y? will see some similar success when the hybrid of digital drums and robotic vocals are used at just a satiating minimum.

Kid Creole - Going Places: The August Darnell Years 1974-1983

Wed, 2 Jul 2008 00:00:00 EST

]]>Usually, when a label puts out a compilation of hits by a certain artist they just release songs that fans already have. This is not the case with Going Places: The August Darnell Years 1974-1983. This album is truly a career spanning completion, in which every track is a masterpiece in and of itself, featuring songs that were either written, performed, or produced by August Darnell. From his times as a key member in Dr. Buzzard's Original Savannah Band and work with Machine to his work as an in house producer for Ze Records, Cristina and Aural Exciters.

Going Places was compiled by DJ Guido of Paris DJs and features relatively unknown but often sampled songs, and even some that are being released on CD for the very first time. The true standout songs on this album are Christina's "Is That all There Is?" which is a hilariously catchy Frank Zappa sounding pop song and a disco cover by Don Armando's Second Avenue Rhumba Band of "I'm An Indian Too" from the Broadway musical Annie Get Your Gun.

The Downfalls - Last Night

Wed, 2 Jul 2008 00:00:00 EST

]]>San Francisco rock band "The Downfalls" recently released their first full album, titled Last Night. It contains 12 songs that range from classic glam rock to more modern garage influences. If you like artists like The Stooges or The Pixies you will like The Downfalls as well.

"All The Way" is carried perfectly with the voice singer Mark Bornstein, who manages to deliver a hard but re-assuringly smooth voice. "Killing Seventeen," "It Goes On," and "Ghost Of Megan" are interesting songs as well, but "Feels so Good" makes it as the second best track on the album. "Empty Sky" which has a timeless classic rock 'n' roll quality to it is the best song. "California Dream" might be the least interesting track on the album, but overall this is very balanced and should satisfy most rock fans. Take note: you need to listen to the album a lot to "get it." This is not pedestrian music. Your attention is required.

MIGGS - Unraveled

Wed, 2 Jul 2008 00:00:00 EST

]]>Don Miggs is nothing short of resilient. After enduring a record label bankruptcy and a change in band-member line-up, he has re-built MIGGS as a three-piece ready to wow, again, the San Francisco scene and beyond. As vocalist and guitarist, along with bassist Michael Lombardo, drummer Brian Totten and a slew of keenly crafted pop pieces on the band's new release Unraveled, everything seems to be in its right place for Miggs.

As well it should be. Unraveled is filled to the brim with melodic masterpieces, with nearly every song poised and ready to be unleashed on the radio. Previous cuts including "Perfect," "Suddenly Wonderful" and the gorgeously yearning "Maybe" shine here, proving once again Miggs' unabashed talent for songwriting. "Taste," with its soaring climax of a chorus and lush guitar is yet another standout.

Echoes of earlier Goo Goo Dolls ring through the driving "Lie To You," while the album as a whole maintains a certain honesty that would speak to fans of the earnest, melody-driven rock of the 90's. While Miggs' vocals may prove too clean for some rock aficionados, the care with which he molds his voice to the sea of moods provided by Lombardo and Totten is undeniable. It is here, unraveled for all to see, that the band as a dynamic trio solidify their sound. Things are indeed "Suddenly Wonderful" for MIGGS, and the future certainly looks bright from here.

Animal Collective - Water Curses

Wed, 2 Jul 2008 00:00:00 EST

]]>A mini follow up to last year's exceptional Strawberry Jam, Water Curses sounds less like a collection of B-sides and more like a surprisingly cohesive group of nautical themed songs. The glue to the album is water, duh, and the sounds and the weightless feelings associated with the subject.

The title track starts the Water Curses with boundless energy, like a rushing river. It's almost hyperactive in its movement, and is more urgent than anything on Strawberry Jam. "Street Flash" follows and offers an immediate change in tempo. The song is not exactly still, as random screams penetrate, but it's one of the sparsest arrangements the Collective has put out. Drips of water echo behind Avey Tare's voice. The second verse is muffled as if he were singing with his face submerged. Panda Bear chips in vocals on "Cobwebs," and the song continues a slow pace and the back drop sounds like a continuous drip. It ends with bubbles rising to the surface which continues on the album's closer "Seal Eyeing."

The Republic Tigers - Keep Color

Wed, 25 Jun 2008 00:00:00 EST

]]>The Republic Tigers' first full-length, while it shows potential, leaves something to be desired. While the music is for the most part catchy and pulls the listener in, lyrically most of the tracks seem to lack passion and interest. The keyboards, played alternately by three bandmembers, are occasionally inspired but more often they muddy the songs’ overall effect and make them difficult to follow—as do the often faux Brit-rock style vocals. If the Tigers keep refining their sound, they’ll be an act to watch, but unfortunately Keep Color doesn’t showcase their talent well at all.

Dangermaker - Self-titled

Wed, 25 Jun 2008 00:00:00 EST

]]>Dangermaker is a relatively new Bay Area indie alternative rock band that consists of three members. Their current selft-titled EP, includes three songs: "Need," "All For You," and "Looks Good." All three songs are available for a free download at the band's website, including an additional track titled "Delirious." As a bonus, each of the three band members have more songs on their respective MySpace pages. While listening to these samples it almost feels apparent that the main influence in Dangermaker's music style is vocalist/guitarist Adam Burnett's songwriting.

Some have asserted that Dangermaker's style is similar to Rolling Stones', and as far as their best track goes, "Need," that's correct. The vocals and style are reminiscent of the Stones and '70s rock, but with a modern twist. The second best song in the EP is "All For You" which sounds more
rock 'n' roll than the rest of the tracks, but with some clever '80s pop touches too. "Looks Good" is the weakest link in the CD, but that's only because our expectations are already high after the previous two tracks. "Looks Good" is still much better than anything the majority of unsigned bands can produce on their own. The magic behind Dangermaker's music is the
accessibility in the sound, the listener "gets" the melody with the first listen.

After having listened to this EP, the additional "Delirious" track and Adam's own songs on MySpace, I'd rate Dangermaker as one of my top-5 favorite indie bands in the Bay Area. If these guys don't make it big, or if at least the local radios don't start playing them, then this is one fat, unfair, life we all live in.

The Ting Tings - We Started Nothing

Wed, 25 Jun 2008 00:00:00 EST

]]>The Ting Tings have been churning up attention in England since they formed in 2006. They garnered respect for their private shows in Islington Mill (Salford) but have only recently made a splash in the U.S. "Great DJ," the opening track on We Started Nothing, insists that listeners sing along, lest they be accused of having no inner soul. "Great DJ," however, is just a warm up for the next track, "That's Not My Name." Lead singer Katie White addresses those who brushed her aside because she never drew attention to herself: "Don't wanna be a loner / Listen to me oh no / I never say anything at all / So with nothing to consider they forget my name." The album speeds along in the same manner, each song a veritable party in a plastic disc. The Ting Tings sneak in a few ballads, with the songs "Traffic Light" and "We Walk," but have a true gift for creating pop. Katie White sings in a rough-and-tumble, yet slightly childish way, her words like a great big pink bubble of gum popping in your face.

The Notwist - The Devil, You + Me

Wed, 25 Jun 2008 00:00:00 EST

]]>It's the all-too-familiar tale with these crazy early '90s German artist types. No, not really, but it somehow seems fitting that after beginning their career as a hardcore/punk-rock outfit, The Notwist's moodier electronic personas slowly won over, as fully evident on their latest release, The Devil, You + Me.

With an abrupt jolt, this record will tap into your love of spacey, paranoid android Radiohead landscapes gracefully melded together with Belle and Sebastian's delicate-as-a-flower wispy guitar twinklings. There's no indication that The Notwist ever flaunted the energy and brashness that they once did. However, the Acher brothers show a morose understanding of careening melodic arrangements and concise four-minute pop opuses born out of their bruising three-chord punk years.

"On Planet Off" and "Where In This World" share in Johnny Greenwood's affection for harrowing crescendos and vibrant splashes of life amongst the corrosive cracks of NIN-like apocalyptic storytelling.

The Devil, You + Me is a heavy-handed folk/electronic rock record in most respects. The Notwist thrive on obscurity and plainness when at their best. But their creativity also lies within Acher's fondness for glimmering morose details and heartbreaking lyrical narratives, captured in his deadpan delivery, that elevate their sound from gloomy folksters to hardcore underground newsmakers.

Tilly and the Wall - O

Wed, 18 Jun 2008 00:00:00 EST

]]>On their third album, Tilly and the Wall continue to experiment and progress while delivering what their fans want to hear: super-fun, energetic pop with powerful vocals courtesy of sassy (and occasionally foul-mouthed) singers Kianna Alarid and Neely Jenkins, set to quirky beats created by the feet of tap dancer Jamie Pressnall. The album starts off mellow with "Tall Tall Grass," a gorgeous love letter to rock 'n' roll, and then switches gears completely with "Pot Kettle Black," a fierce, hard-hitting Yeah Yeah Yeahs-style rocker with shouted lyrics tearing down a hypocritical woman.

The rest of the album has plenty of the upbeat, summery pop songs you'd expect to hear on a Tilly and the Wall release, including "Cacophony," "Alligator Skin" and "Dust Me Off." The instantly memorable vocal melodies on "Falling Without Knowing," which uses an electronic beat, and "Bloodflower," which has a darker vibe than most Tilly songs, make them stand out as two of the album's strongest songs. The final track, "Too Excited," starts off with a 30-second tap dance solo and then turns into a ferocious party anthem.

There's plenty here to excite both old and new fans, and to prove that pop sounds the best when it has plenty of both sugar and spice.

Socratic - Spread the Rumors

Wed, 18 Jun 2008 00:00:00 EST

]]>All initial questions about the new identity of Socratic are ultimately quelled upon examination of the personality in the album Spread the Rumors. The lyrics are quirky as usual, as demonstrated by the potential summer anthem "May I Bum a Smoke?" The band has always been masters of mild eccentricity in terms of lyrical composition juxtaposed to the instrumentation. The words to "Long Distance Calls" carry a somber connotation, but the accompanying strums of the acoustic guitar emit a contradictory response through the unconscious swaying of the head.

Musically, Socratic have simplified their techniques, thus creating a more generic pop-rock album. The band depends more on the basic guitars and drums to radiate the feel-good vibe. The record may slightly disappoint previous Socratic fans who adored the flying fingers of pianist Vincent D'Amico; now the piano has bowed out of the limelight and merely plays accompanying chords as ornaments to each song. The one exception, "Diamond in a World of Coal," gives the piano a lovely duet with vocalist Duane Okun's newer, more polished croon; the result is a very dainty track reminiscent of a huge part of Socratic back in the days of Lunch for the Sky.

Above anything else, Spread the Rumors is a very poppy album with lasting value. As much as it easily fits the broad mold of the pop-rock genre, it is quite an enjoyable record that helps the lazy summer hours go by more quickly.

M83 - Saturdays=Youth

Wed, 18 Jun 2008 00:00:00 EST

]]>To me, nostalgia for the '80s feels never-ending and every once in a while an artist is able to tap into the specificity of the moment, and perfectly recreate it. M83 does this with Saturdays=Youth. The tones are reminiscent of The Cure, Kate Bush, Simple Minds and Depeche Mode, but M83 (Anthony Gonzalez) makes them feel relevant.

The '80s are one of the most romanticized decades in terms of pop culture (for good reason), and Gonzalez', at age 26, could not have experienced them from a teens' perspective, so he take cues from the above mentioned artists and iconic John Hughes' films. The album feels like a hybrid of Pretty in Pink and Say Anything. Pretty in Pink was kind of a drag, but "Say Anything" somehow nailed the loneliness and longing of teenage years, and Gonzalez is able to encapsulate these feelings. On "Graveyard Girl" there is a monologue "I wonder if they'll miss me, I won't miss them...waiting for someone to love me, waiting for someone to kiss me. I'm 15 years old and I feel like it's already too late to live." Being so far removed from that age, it is easy to cringe and take those emotions for granted, but Gonzalez is able to remind us and convince us that the pain is real, and a necessary part of growing up. The video for the song takes a page directly from Sixteen Candles with the outsider girl falling for the high school jock.

"Couleurs" plays out like a nine-minute synth jam session. In the movie Rad, at the high school dance, the two main characters do some awesome freestyle BMX-ing to Real Life's "Send Me an Angel," and many of the songs from Saturdays=Youth could have fit this moment just as well. Sorry for all the movie references but when you hear the music it plays out in grand cinematic fashion, with smoke machines cranking away at the high school dance...a time when emotions felt so heavy.

Dolorata - Believer

Wed, 18 Jun 2008 00:00:00 EST

]]>As a female myself, I have this problem with women performing rock 'n' roll. They never sound convincingly "rocky" enough. I just don't see that "girl power" vibe very often. What I usually see are wimpy pretty girls trying to sound pseudo-rock and seduce the male listeners. Well, San Francisco's five-member all-female rock band Dolorota is not that kind of band. It's real rock 'n' roll...hard, brutal, and authentic.

Believer has quality tracks on it: "You've Gotta Want It," "In The Epic Throes Of Sadness," "Resolution," "Got a Way," the best being "The Keys"—one of the best tracks I have listened to recently. The addition of the violin on some songs is clever, without making the listener feel that their sound is country. Similarly, the guitar work is solid too, very melodic and upbeat, while the drums are precise. Some of the other songs swing towards Americana and blues music styles. The vocals are strong and spread a feeling of authority to the listener, while some of the lesbian-flavored lyrics strike gold each time.

The weakest tracks on the album are the punk-inspired "Showtell" and "Hot Rod," although they do remain interesting and relevant with the style of the rest of Believer.

Windsor for the Derby - How We Lost

Wed, 11 Jun 2008 00:00:00 EST

]]>Sounding a bit like Mojave 3 or Human Television—but from Philadelphia—Windsor for the Derby has every reason to fall flat amongst a continent-sized pond of anti-glitter pop peers. Yet the release of their latest, How We Lost, should solidify their rep on the indie circuit with a formula of distorted jangle pop potential.

How We Lost is complicated, in its sequencing and song structure, yet coincidently feels completely free flowing. As frustrating as that analysis is, Windsor for the Derby have been around long enough (nine albums!) to know what's at stake when crafting beloved and appreciated music for the present music generation. Therein lies their greatest attribute: they make music for themselves. The album hurdles inconsistency with careful experimentation. "Maladies" and "Fallen Off the Earth" provide for a few early album pick-me-ups built around wispy harmony accompaniments and playful, sometimes sorrowful melodies, while the remainder of the album hovers just above loneliness, and a little to the left of optimism. If it sounds bleak, rest assured, it’s...not quite.

One thing is for certain, however: WftD left their indie-ego in check long before How We Lost. And as a new crop of innovators quickly fill our MP3 playlists, WftD keep on sifting through their cannon of influences, tackling untouched and unpolished post-rock pleasures.

Kelli Hanson - Our Buildings

Wed, 11 Jun 2008 00:00:00 EST

]]>Our Buildings, the second album from singer-songwriter Kelli Hanson, is a mature and diverse collection of pop songs drawing on a wide range of influences. "Chariot" is driven by a peppy '80s synthesizer line, "River" somehow manages to combine the meandering guitar lines of '90s emo with smooth jazz, "Stay" channels the spacey pop of Mazzy Star, and "Any Other Minute" delivers the album's most memorable pop chorus. Hanson is a versatile singer, songwriter and musician who is willing to take risks and able pull them off. She recently returned home to the Bay Area from Seattle, and the local scene is lucky to have her back.

Nat Baldwin - Most Valuable Player

Wed, 11 Jun 2008 00:00:00 EST

]]>Amidst a flurry of double bass bowing and plucking comes "Lake Erie," the hallucinatory first track from Nat Baldwin's latest release Most Valuable Player. Baldwin's falsetto sways and moans overtop, underneath, and all over the contrabass fury. Drummer Will Glass plays along with the mixture of dynamics and speeds from gentle and soft to ravaging and impetuous, often in the same compositions. Brett Deschenes adds another layer of sound with his trumpet on selections like "Erie" while Matt Bauder plays clarinet and bass clarinet on songs like "Enter the Light Out."

MVP is produced by Chris Taylor (Grizzly Bear) and features the aforementioned on flute and vocals on a few tracks. Other contributors include longtime friend and music cohort Dave Longstreth, the brains and beauty behind The Dirty Projectors. Having previously played in the Dirty Projectors, Baldwin takes his knack for haunting moments and situations to new levels. The listener can't help getting caught up in Baldwin's spell as he waves his bow across his frets with the precision and fluidity of a conductor's baton.

His lyrics flowing like stream of consciousness poems (no, not like Rosie O'Donnell...) Baldwin puts sentences and phrases together with the same cryptic and spiritual manner as his music. Baldwin is fond of the phrase "blood to the temples" as it appears in two songs on the album ("Dome Branches," "Mask I Wear"). The sway of his words fits with the wavering multi-syllabic vocals, elongating even the shortest of words into three-note, three-letter expressions. Perhaps Baldwin puts it best with a line from "Black Square:" "I felt the pull of the trance..." You and I both, brother.

The Submarines - Honeysuckle Weeks

Wed, 11 Jun 2008 00:00:00 EST

]]>It might be that the sweet smells of blossoming jasmine and orange trees have gone straight to my head, but the sunny, breathy, pretty album that the Submarines have offered up this summer is making me happy, happy, happy (I would put three exclamation points in here but I'm happy, not 12 years old).

Honeysuckle Weeks draws from a diverse set of influences, from dub to electronica, and ends up with a charming, eclectic pop sound. The duo's music man John Dragonetti paints a lush, layered backdrop with considerable skill; and while it is almost certainly all in the form of zeros and ones it nonetheless manages to maintain an organic sound. Blake Hazard supplies her unaffected and lovely voice to the catchy melodies, pleading to the angels of better nature, "Every day we wake up, we choose love we choose light and we try...just trying to get it right."

With this splendid album, I believe they have.

BoDeans - Still

Wed, 4 Jun 2008 00:00:00 EST

]]>Blues-and-roots rock is still the genre of choice for the BoDeans on their eighth release, Still. Although the word, taken out of context, can have several meanings, the BoDeans are "still" doing what they do best. The first few tracks of the disc can become slightly boring with repetitive lyrics ("Hey, ho, pretty ghost" from "Pretty Ghost") and a droning, "ringing" rhythm guitar, but the BoDeans eventually find their groove. The aforementioned "Ghost" involves an ethereal, echoing nature with bongos that almost crosses into psychedelic rock territory. The BoDeans even give nods to genres such as Zydeco and alt-country (if Son Volt and Drive-By Truckers are considered alt-country).

The album was produced by Grammy-winning T-Bone Burnett, and the vocal harmonies take the listener to Thursday nights in 1995 (the Friends theme song) on "Round Here Somewhere," where generic hooks and energetic guitar chords take the place of reverberating guitar-built atmospheres. It doesn't surprise the listener to realize that the BoDeans actually did do the theme song for Party of Five ("Closer to Free").

Things turn around once "Lucille" comes around the corner. Blues and rockabilly influences shoot through the piece as the minor chord progressions create a spooky tone. Kurt Neumann's and Sammy Llanas' vocal harmonies have the perfect amount of grit and slop. One might miss one word while the other holds out a note longer than the other. The result is more natural, less rigid and strict, and completely in sync.

Mike Glendinning - Random Acts of Grunge Jazz

Wed, 4 Jun 2008 00:00:00 EST

]]>Usually when a musician tries to pull off a new style of music they eventually fail and/or give up. This is not the case with the amazing work that Mike Glendinning has done on Random Acts of Grunge Jazz. Mixing avant-garde, punk, rock, jazz, country, blues, grunge and just about every other genre of music you can think of in a musical blender, the album takes a hypnotizing trip into music that will leave you listening over and over again. From his cover of "I Left My Heart in San Francisco," which sounds like a lost recording of gypsy guitar legend Django Reinhardt to his brilliant, and haunting "Dead Red Summer," this album is sure to please many listeners.

HIJK - The Pen and the Letter

Wed, 4 Jun 2008 00:00:00 EST

]]>The Pen and the Letter is the first full album by Oakland trio HIJK (previously known as "Hijack the Disco"). The band labels themselves as "art-pop," but if you listen closely you will find influences of mainstream pop, alternative rock, hard rock, even punk. There is definitely quite a bit of variety in the album, not only in the music and lyrical style, but also in the vocals, as both the guitarist and the bass/keyboardist take turns in singing.

In most of the songs there is a constant change on the pace, you start with a slow song, you end up with hard rock, some effects added in the mix, and the other way around. On a few of these songs though (e.g. "The Center of Things" and "Elly and Iffy") the pace and melody changes a lot, like it's becoming a completely different song/genre. This can put some listeners off, especially those who don't like such "jazzy-like" tempo changes. These songs feel more experimental in nature rather than consumer-oriented.

Some of the best songs in the album include the indie pop "Alibi" and "The Dresser Speaks," the alt-rock-styled "Smells Like Cigarettes," the punk-influenced "Paper Boat," the instrumental hard rock delight titled "Groove Jet" and the ballads "Her Sleepy Smile" and "Writer's Block." There is
good guitar and drums work on all of the tracks, but what pops out a lot in some of them is the bass element that sometimes sets and carries out the melody.

If you like strong, cocky music without sounding unrefined or harsh, this is a great album to consider.

Team Genius - Hooray EP

Sun, 1 Jun 2008 00:00:00 EST

]]>Team Genius is an eight-piece band from Brooklyn who has pasted itself together, adding on members and instruments here and there over time. They seem much like a band that is searching for their own new sound, but in the end, wind up coming across as poor mimics of other more established groups. Their EP starts off sounding like Weezer and ends in the tone of Arcade Fire.

The first three tracks of the EP, Hooray, all begin with the same word—"Let's." Most of Team Genius' songs request that listeners participate in group sex, singing, drinking and doing drugs. They lend plenty of energy to planning their party, but forget about creating the perfect soundtrack. Team Genius' blase attitude about everything becomes tiring, especially during the Devo/B-52's sounding song "I'm Just an Idiot."

The last track, "Must," is Team Genius' savior, despite all of their copycatting. The fluidity of its instruments (guitar, accordion, tambourine, and strings) rivals all the other songs and lays down a beautiful surface for the lyrics to stand on. Singer, Drew Hermiller sings in beautiful, hushed tones full of wonder and uncertainty. Lyrics like "Should we search?/should we go to church?" speak to the masses, as does the simplicity of the lines "Who do we trust?/Is there ever enough?” When you are questioning the meaning of things, give the song "Must" a listen.