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(04/16/08 12:00pm)
Kathleen Edwards
"Asking for Flowers"
4 out of 5 stars
Is there another female singer/songwriter out there right now who is as talented as Kathleen Edwards? Over the course of her first three full-length albums, Edwards has established herself as a fine musician and songwriter, calling on an eclectic mix of influences to make a sound all her own.
"Asking for Flowers," the latest from the 29-year-old Canadian, is an album overflowing with poignant statements and startling observations: introspective, reflective and plenty enjoyable. Musically, Edwards' sound harkens back to Ryan Adams' early solo works as well as his last two "Whiskeytown" records - alt-country-style pop songs that feature plenty of twanging, chiming electric guitars, acoustic rhythm guitars, Hammond organs and pleasant harmonies.
Lyrically, Edwards has put together an emotional record that's earnestly bittersweet and uncompromisingly passionate, talking about social injustice, draft dodgers, love and the conflicts it creates. In some ways it feels lyrically like an earlier Bruce Springsteen album with its own distinct flair. As singer/songwriters go, Kathleen Edwards is as talented as they come, and that's not something I say often.
Key Tracks: "I Make the Dough, You Get the Glory," "Oil Man's War," "Asking for Flowers"
Black Keys
"Attack & Release"
3.5 out of 5 stars
The careers of Dan Auerbach and Patrick Carney (the Black Keys) have, if nothing else, been steady through the release of their four previous, blues-affected garage records. While they are very good albums, by the time their last one, "Magic Potion," came around in late 2006, the sound had started to get a tad weary. So they went and brought in the one and only Danger Mouse (of Gnarls Barkley and MFDOOM fame) to man the controls for the recording of this LP.
It's still very much a Black Keys record: full to the brim with growling guitar riffs, rattling drum lines and plenty of bluesy garage rock. What Danger Mouse has brought to this besides his standard hazy production and occasional sonic flair is an increased intensity to both the sound of the album and the songs themselves, which works for a majority of this album. However, it doesn't always hit the nail on the head.
Is it the best that the band has done? I'm not sure, but it still makes for a really good set of songs.
Key Tracks: "I Got Mine," "Strange Times," "So He Won't Break"
(04/09/08 12:00pm)
R.E.M.
"Accelerate"
3.5 out of 5 stars
R.E.M.'s last album was, in the opinion of many people (myself included), somewhat of a disappointment. It was not that "Around the Sun" was a bad record, but it was missing the band's trademark jangly guitars and upbeat nature, leaving us with Michael Stipe imitating his favorite lounge singer.
The venerable threesome from Athens, Ga., have made up for this faux pas with an album that signifies a return to rock. It's a lean 36 minutes of Peter Buck's familiar guitar playing, Michael Mills' steady bass and backup vocals, and Michael Stipe's energetic lead vocal work. The group has put together a record that owes more to its distant past then it does to its recent history, which on the surface might sound tiresome, but really is not.
The band doesn't tread new ground on this release but that was never the intent. It feels more like they're proving to themselves and their fans that they still have the fire and vigor that made R.E.M. a household name in the '80s and '90s.
Key Tracks: "Supernatural Superserious," "Living Well Is the Best Revenge"
The B-52s
"Funplex"
2 out of 5 stars
Admittedly I've been joking about this album for weeks. Can you blame me? After all, this is the same band that brought us wedding-floor classics like "Love Shack" and "Rock Lobster." But I summoned the resolve to sit down and give this as fair a review as possible.
In all honesty, I expected the worst and the worst did not come. From a musical standpoint it's a perfectly acceptable dance-rock album, with plenty of catchy guitar and synthesizer hooks. And while the sound is 21st century in nature, it is still very much a B-52s record in feel.
But there is a downside to this album. Fred Schneider's over-thetop herky-jerky vocal style has gotten more annoying than ever and sounds like it's straight out of the early '80s. Less than intelligent lyrics don't help matters.
It's a good record for what it is, but if you didn't like The B-52s 20 years ago, you won't like them now.
Key Tracks: "Hot Corner," "Ultraviolet"
(04/02/08 12:00pm)
The Raconteurs
"Consoler of the Lonely"
3.5 out of 5 stars
Better known as Jack White's other band, you may remember that the Raconteurs had a top-10 album in "Broken Boy Soldiers" and a moderately big single in "Steady, as She Goes" back in 2006. The Raconteurs surprised just about everybody when they announced that their second album was not only finished, but was being released in all mediums in a week.
This album feels much more cohesive from start to finish than their debut effort, which was built around one song. Musically it's a garage-style, bluesy rock record that spends just as much time looking backward as it does forward, splitting the difference between the White Stripes' creative freakouts and co-front man Brendan Benson's hook-laden power-pop.
Featured members White and Benson continue to swap lead vocal duties, though White does get the majority. The rhythm section of the Greenhornes' Jack Lawrence and Patrick Keeler is still solid. It's a meatier, much-improved and unified effort that isn't perfect, but is plenty of fun to listen to.
Key Tracks: "Consoler of the Lonely," "Old Enough," "These Stones Will Shout"
Counting Crows
"Saturday Nights & Sunday Mornings"
3 out of 5 stars
The Counting Crows are back once again with another set of emotional middle-of-the-road rock songs that are sure to be a hit among all generations, especially middle-aged soccer parents. Many of singer Adam Duritz's favorite topics of discussion grace this record: Los Angeles, Sundays, Amsterdam, angst-filled self-deprecation, and people coming around.
Perhaps I'm being overly harsh on the Counting Crows right now. After all, I would be lying if I said I don't pull out my copy of "August and Everything After" on a regular basis. Besides, this is a perfectly pleasant-sounding record that fits in nicely with the rest of their canon. I guess my big beef is that it sounds like every other record the band has put out. But if you've heard one Counting Crows album you've heard them all.
Key Tracks: "Come Around," "Los Angeles," "You Can't Count on Me"
(03/19/08 12:00pm)
Flogging Molly
"Float"
3.5 out of 5 stars
Why it took Flogging Molly almost four years to release a proper studio follow-up to "Within a Mile of Home," is a mystery to me. Either way, "Float" made it to the shelves just in time for St. Patty's Day. If you don't know, Flogging Molly is an "Irish Punk" band akin to Dropkick Murphys, Stiff Little Fingers and The Pogues.
Featuring plenty of guitars, tin whistle, fiddle, accordion and other more "traditional" Irish instruments, the band rips its way through another solid set of songs full of Guinness, and rife with piss and vinegar. There is not a lot that distinguishes one Flogging Molly album from another. But if you listen closely it becomes obvious that the songwriting has strengthened and become more diverse. Relatively down-tempo tunes "Float," and "Us of a Lesser God," slot in more comfortably with rockers "Requiem for a Dying Song," and "Paddy's Lament," than they did previously. While it's typical Irish fare, the album entertains from start to finish, which is all it needs to do to be successful.
Key Tracks: "Requiem for a Dying Song," "(No More) Paddy's Lament"
Del tha Funkee Homosapien
"11th Hour"
3 out of 5 stars
Now here's one of the true overlooked legends of '90s hip-hop and beyond. Most would recognize him as the guest rapper on the Gorillaz hit "Clint Eastwood." It's been quite a while since Del put out an album on his own.
Del's lyrics are literate and feature a lot of clever twists and wry humor. The delivery is smooth and the beats are solidly composed and ear-catching without being overly distracting. Where this album falls short is in the combination of the beats and the vocals. Both are good individually, but they don't always come together. In the end it's a good effort, but not a great one. It's just nice to hear Del again.
Key Tracks: "Bubble Pop," "Raw Sewage"
(03/05/08 12:00pm)
Stephen Malkmus & the Jicks
"Real Emotional Trash"
4.5 out of 5 stars
The boys over at Matador Records, the home of Stephen Malkmus & the Jicks, say this record verifies that Malkmus remains a ridiculously hot guitarist. To be honest, that statement is not far from the truth. Malkmus originally rose to prominence as one of the founding members and front man for the band Pavement, one of the most influential and beloved musical outfits of the '90s. Now 41, the elder statesman of '90s indie-rock has returned with his fourth solo record and one of the stronger efforts of his career.
A share of the praise has to go to this iteration of the Jicks, who may be the best collective of musicians Malkmus has had behind him since his Pavement days. Most notable is the addition of former Sleater-Kinney and current Quasi drummer Janet Weiss, who gives the group the extra drive and backbone that helps to define the songs. But nothing can subtract from Malkmus' songwriting and fuzzed-out twisting guitar stylings. Malkmus may not be the fanciest guitarist today but is certainly one of the most emotionally forceful.
Key Tracks: "Cold Son," "Baltimore," "We Can't Help You"
Gutter Twins
"Saturnalia"
3.5 out of 5 stars
The Gutter Twins is a collaboration between Mark Lanegan, former front man for '90s grunge outfit Screaming Trees and charter member of Queens of the Stone Age, and Greg Dulli, current front man for the Afghan Whigs and the Twilight Singers.
"Saturnalia" is a dark, powerful record that oozes with hedonistic sentiments, both musically and vocally. Dulli's soaring vocals are on full display once again, though they are a bit restrained compared to the last Twilight Singers record, while Lanegan's gravelly baritone provides a nice contrast throughout. Musically, the biting electric guitar lines and ominous backdrops of sound fit most of the songs well. Overall it's a good record and works most of the way through, though I think I prefer the last few Twilight Singers records over this collaboration.
Key Tracks: "Each to Each," "Idle Hands," "Bete Noir"
(02/27/08 12:00pm)
Vampire Weekend
"Vampire Weekend"
3.5 out of 5 stars
As the latest in a line of huge buzz bands to come out of New York City, Vampire Weekend has accomplished a lot since forming while students at Columbia University in 2006. They've sold out shows all across the city, toured Europe with The Shins and released their debut LP on XL Recordings, home of Basement Jaxx and Thom Yorke. Oh yeah, and their self-titled release reached No. 17 on The Billboard Top 200 Albums Chart.
You don't have to look far to find out why these guys are getting all the attention they have been lavished with, as they're not your average indie rock outfit. Rather, their songwriting and instrumentation give copious nods to a variety of influences including African popular music, western classical music and even some reggaeton dispersed here and there. There are plenty of punchy percussion and chiming guitar lines to complement these many influences. The band refers to the sound as "Upper West Side Soweto," a tag that fits the band's hybrid sound well.
When all is said and done, the one thing that is certain is that you won't find another band out there that sounds like Vampire Weekend.
Key Tracks: "Walcott," "Cape Cod Kwassa Kwassa," "Campus"
Mike Doughty
"Golden Delicious"
3 out of 5 stars
Mike Doughty's career could certainly be described as a saga. He founded the band Soul Coughing back in 1992, which some of you may remember had a bunch of minor hits throughout the '90s, only to be dissolved by Doughty in 2000 due to a combination of his growing tired with the group and his heroin addiction. After cleaning up, he turned his attention to his solo career.
As with the majority of his solo material, Doughty's lyrics feature interesting turns of phrase that only someone with his vocal stylings could pull off successfully. All of this fits well with the instrumentation and musical style that has become Doughty's trademark since striking out on his own: midrange to up-tempo singer/songwriter material featuring syncopated guitar playing mixed with some elements of hip-hop.
Where Doughty seemingly missteps on this record is not particularly clear. He sticks to the same formula that brought him success in 2005. The sound is not old or tiresome, nor are there any particularly subpar songs. However, there is nothing that is especially memorable either - nothing that clings to you and gets stuck in your head for days like, "Looking at the World from the Bottle of a Well" or "Unsingable Name" from his last effort.
Key Tracks: "Fort Hood," "Like a Luminous Girl," "I Wrote a Song About You"
(02/20/08 12:00pm)
Atmosphere
"Srictly Leaking"
4 out of 5 stars
Over the course of their careers, the hip-hop duo Atmosphere has been one of the more interesting members of the underground rap community. It helps that they're co-founders of one of the best independent hip-hop record labels in existence: Minneapolis' Rhymesayers Entertainment. With a lineup including MF Doom, Soul Position, Brother Ali and the Boom Bap Project, they've put out a bevy of solid releases over the last few years. So why Atmosphere decided to release their sixth full length as a free digital-only release is a mystery to me.
Atmosphere has always been defined by the solid production work of Ant (Anthony Davis) and the moody introspective rhymes of Slug (Sean Daley). The group has advertised the album's tracks as "13 songs to chase away the winter doldrums. Great for first dates, crappy houseparties or to play in the background while you Google yourself again." It is a very party-centered record that features some excellent soul and funk sample-happy production work from Ant, which only helps to boost the strength of Slug's delivery. While Slug's rhymes are still introspective and personal, he isn't nearly as temperamental as on previous releases. The end product is a very good, high quality hip-hop record from the first track to the last.
Key Tracks: "YGM," "That's Not Beef, That's Pork," "The Things That Hate Us"
Magnetic Fields
"Distortion"
2 out of 5 stars
For those of you out there who are unaware, Magnetic Fields is the primary vehicle for music wunderkind Stephin Merritt. After releasing five albums between 1990 and 1995, Magnetic Fields made a name for themselves in 1999 by putting out "69 Love Songs." Now Merrit's main project is back after three and a half years with an album that could not be more appropriately titled.
Surprisingly consistent in terms of song length (all but one song clocks in between 2:51 and 3:07), "Distortion" is an often murky album that features overly fuzzy guitar and instrumentation with reverb manipulating every sound, even the vocals. In places it's not so bad, but at other times all the reverb and distortion nearly make the album unlistenable. Now I like reverb as much as the next guy, but for a Magnetic Fields record this is a bit over the top. Merritt's bell-like baritone has trouble cutting through the noise, and the same goes for Shirley Simms' pleasant vocal work. All in all it's a bit of a disappointment, and probably could have been improved by turning down that reverb knob a bit.
Key Tracks: "California Girls," "Drive On, Driver"
(02/13/08 12:00pm)
Bob Mould
"District Line"
4 out of 5 stars
Bob Mould is a veritable legend in alternative music circles. As a founding member and front man for the wildly influential '80s post-hardcore outfit Hüsker Dü, Mould helped pave the way for almost all alt-rock that would follow. In addition, the Minneapolis trio helped to break industry barriers, becoming one of the first '80s underground bands to sign a major label deal. His later band Sugar would achieve some moderate radio and MTV hits in the early '90s with their blend of alternative pop. The 47-year-old Mould also had successful solo careers churning out rock records and creating electronic dance records as a DJ.
"District Line," the second album of Mould's "rock comeback," so to speak, is something of a return-to-form record. He plays almost every instrument on this album, with the exception of cello on a few songs and drums, which are capably handled by former Fugazi drummer Brendan Canty. The guitar work is loud and bombastic in true Bob Mould fashion. But this isn't a straightforward rock record as Mould incorporates bits of his entire career here, including several electronic flourishes, most notably on "Shelter Me." But otherwise, his songwriting is just about as strong as it's ever been and sonically this is his best album in years.
Key Tracks: "Silence Between Us," "Very Temporary," "Stupid Now"
Chris Walla
"Field Manual"
3 out of 5 stars
After years of playing guitar, producing and serving as Ben Gibbard's right-hand man in every suburban teen's favorite group of reflective indie rockers, Death Cab for Cutie, Chris Walla finally stepped out of the shadows with his first solo effort. And, big surprise, in a lot of places it sounds a lot like Death Cab. But that's not all bad as songs like "Sing Again" and "Our Plans, Collapsing" sound very much like they could have been Death Cab B-sides.
Where Walla really succeeds on this album is on some of the more up-tempo tracks, where he brings the guitars and the rock. "Geometry &c." is one of those tracks and as it stands now is one of the best songs I've heard this year. On the production side of things, I've never been a fan of Walla's work behind the controls in the past, as I always felt he had a tendency to fiddle with things too much. This time he seems to get it just right and the production helps bring the songs out the way they seemingly were intended to.
All in all, it's a solid effort. A pleasant indie-pop album with just enough meat on it to separate it from his better-known outfit.
Key Tracks: "Geometry &c.," "The Score," "Our Plans, Collapsing"
(02/06/08 12:00pm)
Nada Surf
"Lucky"
4.5 out of 5 stars
As far as alternative pop outfits go, Nada Surf has one of the most interesting sagas going. Some of you may remember that they scored a hit with the song "Popular" on their 1996 debut. But a lengthy period of label strife followed and their second album went nearly unheard. However, a move to Barsuk Records and revamped songwriting led to two fantastic albums in a row.
The thing that really sets the Brooklynbased trio apart from every other pop-rock band out there right now is the fact that their lyrics are amazingly literate for a pop band. Not that this is really a big secret, but what sets this particular album apart is its surprisingly upbeat tone. Where their other albums could be considered good rainy day pop records, this one by comparison feels almost sunny. Musically speaking, this album is a shimmering batch of pop songs that contains enough eclectic moments to earn it start to finish status. From the methodically and dynamically beautiful climax of opener "See These Bones," to the power pop attack of "Whose Authority" and "Beautiful Beat," to the polka ending of "Ice on the Wing," the overall songwriting is just about as strong as it has ever been. And while the hooks don't ring as loudly as they did on their last record, they are still present and manage to shine brightly. It's a more than worthy addition to the Nada Surf canon and a fine alt-pop record from one of best of the genre.
Key Tracks: "See These Bones," "Whose Authority," "Beautiful Beat"
Cat Power
"Jukebox"
3.5 out of 5 stars
After many years of recording and performing, Chan (pronounced Shawn) Marshall, aka Cat Power, is starting to get some serious buzz, and it's no wonder really. There is a certain ethereal soulfulness in her voice that few can claim to possess.
Her latest album, "Jukebox," is a covers record, and it's not the first one that she's done (she released "The Covers Record" back in 2000). And it's been successful so far, peaking at number 12 on the Billboard Top 200 albums list. On first glance, the first thing that stands out is the varied and interesting nature of the songs she's chosen. They include Hank Williams' "Ramblin' (Wo)man," James Brown's "Lost Someone," and "New York" (yes, the one made famous by Frank Sinatra). It's ambitious, but Marshall certainly has the voice to pull it off, and she does. Combine her voice with the song arrangements and this album carries a hauntingly beautiful aura with it. It's just a solid soulful record from start to finish that finds Marshall on top of her game.
Key Tracks: "Ramblin' (Wo)man," "Blue," "I Believe in You"
(01/30/08 12:00pm)
Drive-By Truckers
"Brighter Than Creation's Dark"
4.5 out of 5 stars
The Drive-By Truckers (DBT) don't like to be pigeonholed. Upon the release of their third album, "Southern Rock Opera," the band found itself constantly shadowed by the term "southern rock band." Certainly you can hear a whole lot of Lynyrd Skynyrd influences scattered throughout all seven of their albums, but the fact is that there are just as many cues taken from the Rolling Stones and the Faces as well.
In the face of mounting tensions and exhaustion in the summer of 2006 following the release of their last record, "A Blessing and a Curse," the band set out to shatter those stereotypes.
The stress ultimately resulted in songwriter and guitarist Jason Isbell's departure from the band. While lesser bands would have been crippled by the loss, DBT was strengthened by the addition of John Neff on guitar and the legendary Spooner Oldham on keyboard. All of this leads us to the group's seventh full-length, "Brighter Than Creation's Dark."
It's one monster record: 19 songs clocking in at around 76 minutes. The main reason for the Trucker's success has always been in the songwriting, and the tandem of Patterson Hood and Mike Cooley has few equals when it comes to the great songwriters of the present era. In their own distinct styles, the two of them are able to craft stirring vignettes about love and loss, desperation and frustration, and despair and hope. In addition to Cooley and Hood, bassist Shonna Tucker (Isbell's ex-wife) takes her first turns at songwriting and singing, contributing three solid tracks to the record.
Though the songwriting tends to get the brunt of the attention, you can't discredit their musicianship one bit. With a two and three guitar attack, the Truckers can growl and bark their way through a rocker like few bands can. However, with elements of '60s style R&B and country thrown in now and again, the band has done well to break those stereotypes.
From start to finish this is one hell of a record. Though it's still very early in the year, there is a good chance that this may be the best record of 2008.
Key Tracks: "A Ghost to Most," "The Righteous Path," "3 Dimes Down"
(12/05/07 12:00pm)
Ghostface Killah
"The Big Doe Rehab"
3.5 out of 5 stars
Ghostface Killah has been one of the most overlooked members of the Wu-Tang clan, with more attention paid over the years to the likes of Method Man, Raekwon, RZA and Ol' Dirty Bastard. However, you could present an argument that Ghostface is the most talented member of the clan. If nothing else, he's the most prolific.
This is the third full-length album the Staten Island-born rapper has released in the last year and a half. It's a good album, but probably not as good as his last two. It's certainly not for a lack of effort as Ghostface comes across angry and reflective, and his rhymes are still characteristically strong. He gets plenty of help, with appearances from Raekwon, Method Man, U-God, Masta Killa, Ox and Beanie Siegal.
Most of the trouble comes from the production, which at times on this album is just lackluster. Blame the Diddy-associated Hitmen for that, as opposed to his last record, which featured MF Doom, Pete Rock and the late J.Dilla behind the controls. Regardless, in a rap community that has in large part turned away from more traditional East Coast hip-hop, Ghostface still continues to be a shining example that the genre still has life left in it.
Key Tracks: "Walk Around," "Supa GFK," "Toney Siegal A.K.A. The Barrel Brothers"
Babyshambles
"Shotter's Nation"
3 out of 5 stars
It's been a strange and sometimes terrible saga for Pete Doherty the past few years. After getting kicked out of the popular British band he co-founded (The Libertines) due to drug problems and his high-profile and troubled relationship with Kate Moss, England's own musical harlequin's first album with his new band Babyshambles was a crack- and cocaine-addled piece of rubbish that had many questioning whether or not the young rock star would ever reach the potential he exhibited earlier in his career.
This, the band's second effort, is an improvement on its ill-fated debut. In large part it's a step up because Doherty sounds focused and relatively clean from beginning to end. It's certainly the most effective, well thought-out songwriting that we've heard from the former Libertine since his previous band's first album. Doherty has never strayed much from the formula The Libertines made famous: garage rock influenced UK indie rock with some post-punk references thrown in for good measure. Overall it works out for him and the rest, but still doesn't quite measure up to anything The Libertines made. But if this is a sign of things to come, maybe there's hope for Doherty after all.
Key Tracks: "Delivery," "You Talk," "Deft Left Hand"
(11/28/07 12:00pm)
The Hives
"The Black and White Album"
3 out of 5 stars
You may best remember The Hives as part of a trifecta of bands, along with The Strokes and The Vines, that were supposed to save rock 'n' roll. Who would've thought that more than half a decade later The Hives would stand as the most commercially viable of the three?
This album, the band's first since 2004's "Tyrannosaurus Hives," is more bombastic than its predecessor. The lead single "Tick Tick Boom," is the catchiest Hives single since its best-known song "Hate to Say I Told You So." A lion's share of the credit can go to lead producer Dennis Herring who has clearly attempted to put some of the missing meat and grit back into the group's sound. And to a certain degree, he does: Howlin' Pele Almqvist and the rest of the group are on top of their game musically. But the band starts to fiddle with the formula too much and the results start to fade. Bringing in Pharrell to produce a few tracks is a novel idea, but in practice comes up short. All in all though, it's an improvement for the Swedish quintet that should age better than its last effort.
Key Tracks: "Tick Tick Boom," "You Got It All...Wrong," "Square One Here I Come"
Dan Wilson
"Free Life"
3 out of 5 stars
Dan Wilson will be best remembered as that "Closing Time" singer along with his band Semisonic. Not a terrible career fate for an artist to be subjected to, but one that could lead to a fair amount of pigeonholing. So, Wilson goes and seeks the same refuge that many other artists with ailing careers have sought: the loving arms of famed producer Rick Rubin and American Records.
Striking out on his own, Wilson has crafted a meticulous and humble set of songs. The sound that he exhibits with this set of songs is that of the epically tuned singer/songwriter - heartfelt yet overly slick at the same time. The tracks that this approach works best on are chock full of earnest emotion. Sometimes though, this emotion feels a bit forced. In the end though, Wilson has created a solid if unspectacular set of singer/songwriter material that doesn't try to reinvent the wheel. But then again nobody was asking him to.
Key Tracks: "Breathless," "Against History," "Sugar"
(11/14/07 12:00pm)
Maritime
"Heresy and the Hotel Choir"
4 out of 5 stars
If Davey Von Bohlen and the rest of Maritime continue putting up efforts like this one, people are soon going to forget that Von Bohlen used to be the frontman for the seminal indie/emo outfit the Promise Ring. The band's last album, 2006's "We, The Vehicles," was one of the most pleasantly enjoyable records of the year and a major improvement over its debut, 2004's "Glass Floor."
Its latest effort finds a band that is continuing to expand upon itself. The most noticeable change for this album is that the production is not as slick. There are some rough edges, but this actually allows the record to breathe more and play into Von Bohlen's ever-improving songwriting.
His lyrics really stand this time around as they invoke a sinisterly soothing yet contemplatively wry sense of humor. Meanwhile the music is consistently effective with its chiming guitars, bouncy rhythms and occasional synth embellishments. It's not the surprising redefinition that "We, The Vehicles" was, but rather more like an announcement that this is one of the best indie outfits out there right now.
Key Tracks: "Guns of Navarone," "Science Fiction," "Pearl"
Saul Williams
"The Inevitable Rise and Liberation of Niggy Tardust"
2.5 out of 5 stars
Saul Williams is an incredibly talented individual. His writings, whether they be through his poetry or his lyrics, are moving and poignant and have the ability to exude raw emotion like few artists can in this day and age. The biggest flaw, if you can really call it that, with Williams' music is that he's never seemed to find a sound that truly fits his unique musical persona.
His third LP comes to us as a free Internet download, though you can pay for it a la Radiohead. Oh yeah, and it's produced by Trent Reznor of Nine Inch Nails (NIN). This record finds Williams moving further and further away from the straight hip-hop of his first album and the hip-rock amalgamation of his second. Basically it sounds in large part like a NIN rock album with Williams' vitriolic sung vocals. It certainly stands as the most effective album in the Saul Williams catalogue, though it is still a harsh listen in places.
Key Tracks: "Break," "Banged and Blown Out"
(09/19/07 12:00pm)
Foo Fighters
"Echoes, Silence, Patience, & Grace"
3.5 out of 5 stars
I'm going to be completely and brutally honest on this one: I've always really liked the Foo Fighters. Dave Grohl and the rest of his coterie of ne'er-do-wells have consistently been one of my favorite mainstream groups since they late '90s. But the fact of the matter is that all of its albums sound mostly the same. While I can't imagine these guys will ever suprise us, they have once again put together a solid album.
The first single off the album, "The Pretender" is a typical Foo Fighters single in the same vein as songs like 2002's "All My Life:" straight forward modern era alt-rock with Grohl's frenetic vocals. Gil Norton, the producer from 1997's "The Colour and The Shape," also returns on this album. Where the band has really set itself apart from the other mainstream acts over the years is in its ability to pull back and not always drive ahead blindly. The subtle melodies and harmonies of tracks like "Summer's End" and "Statues" are good examples of this.
Detractors could say that it's just another similar album from a band who individually aren't anything to sneeze at. But when it comes down to it, it's another good record from a band that continues to prove that mainstream rock isn't dead yet.
Key Tracks: "The Pretender," "Cheer Up Boys (Your Makeup Is Running)," "Summer's End"
Hard-Fi
"Once Upon A Time In The West"
3.5 out of 5 stars
On its last album, Hard-Fi frontman Richard Archer almost literally had a license to print money. Their debut LP was produced for under $2,000 and the band eventually shot from nowhere all the way up to No. 1 on the U.K. album charts. This, its second album, needed only one week to do so.
But in my humble opinion this is the new sound of British pop, so to speak. For those of you who don't know, the band puts out a sound that's a mix of post-punk and indie rock with an urban flair. Meanwhile, Archer's lyrical structures have a very distinct down and out suburban edge with the recurring theme of hope for the future. It's the band that Damon Albarn, frontman of Blur and Gorillaz, never created and comes across as a hybrid of the two. Certainly the Albarn nods are huge on this record like they were on the band's last album.
This is darker than the band's debut offering and a bit more unrestrained, charting new territory musically for the quartet from Staines. It's not as immediately catchy as the first album, but when all is considered it's still a solid offering that avoids the sophomore slump and helps establish the group as a name to be reckoned with.
Key Tracks: "Suburban Knights," "Little Angel," "I Shall Overcome"
(09/12/07 12:00pm)
If you look up the term "verge" in the dictionary, one of the definitions that you would come across is that verge is "the limit or point beyond which something begins to occur; brink." I reference this definition for the simple reason that Minus The Bear seems to be on the verge of breaking out in the music industry, a fact that could be considered surprising if you know any of the band's history.
The Seattle-based group is not your typical rock band. Its 2001 debut EP, "This Is What I Know About Being Gigantic," featured song titles such as "Hey, Wanna Throw Up? Get Me Naked" and "Pantsuit...Uggghhh." Song titles not withstanding, the band became notable for putting together songs that combine ultra-intricate melodies with sophisticated rhythms and time signatures. To put it bluntly, they're not your run-of-the-mill, dime-a-dozen pop-punk outfit. Two LPs and two EPs would follow. But when you study the course of the band's last few releases, you begin to notice the subtle and gradual evolution that has been taking place.
This brings us to the new full-length album, "Planet of Ice." There are some out there who think that the title is terribly appropriate being that this album finds the band arguably at their darkest and most crudely calculated. "Planet of Ice" seems to take on a more serious tone and feel. The crazy song titles have all but vanished and the song structures have grown tighter and more refined. Much of the swagger that encompassed its earlier works is gone, instead having morphed into a sort of cool, subtle confidence that can clearly be heard in its playing.
By the same turn however, this album finds the band at perhaps its most technically and musically proficient. The complex and rhythmic melodies are some of the most eclectic and precise that the band has put together over its six years of existence. But the best moments are spread out and scattered over several tracks as opposed to being centralized in a few specific locations. It certainly works on songs like "Double Vision Quest," which simmers for two minutes before exploding in an almost cacophonic sea of guitars and programmed noises and beats.
Also, tracks like "Throwin' Shapes" and "Knights" are more typical of stuff the band has been doing for years, but the pieces fall together just right so that the formula avoids sounding worn out and haggard.
Meanwhile, lead-vocalist Jake Snider has never been the most interesting or passionate vocalist, and this album does nothing to change that perception. However, considering the moody and slightly paranoid feel that the lyrics on this album have, Snider's deadpan delivery is more then adequate.
When it comes down to it, maybe this was not the most progressive step forward the band could have taken. When a band approaches the math/prog rock cliff, people can't help but want the group to make the jump and see where they land. Minus the Bear is one of those groups who still have not made that jump, though I'm not sure if it would be the best thing for the group to do.
Regardless, this album is not a misstep and is a quality offering from one of this decade's most intriguing rock outfits.
(09/05/07 12:00pm)
Manic Street Preachers
"Send Away The Tigers"
4 out of 5 stars
This was almost the second Manic Street Preachers album to debut at No. 1 in the United Kingdom, but the Arctic Monkeys topped it by a mere 690 copies to rack up its third No. 2 debut. Regardless, the Manics are one of the bigget acts in the United Kingdom and in all of Europe, though the band has never had much of an impact in the states. This album, the band's eighth, really represents a return to form for the trio from Blackpool. After a two-year hiatus that could not have come at a better time, it finds the band doing what it does best: crafting bombastic and majestically aggressive pop songs.
This album features perhaps the most guitar work and is the most muscular set of songs since 1996. In its earlier days, it was one of the most controversial bands in existence, and while they've toned it down over the years, its lyrics still speak volumes. Of course the focal point once again is the diminutive guitarist and lead vocalist James Dean Bradfield, whose vocal work is arguably the most powerful and soaring in rock music this side of Queen's Freddie Mercury. In the end, I'm not sure if you can call this a true comeback album, but either way, it's pop-rock at its most thunderously epic.
Key Tracks: "Send Away the Tigers," "Indian Summer," "Your Love Alone Is Not Enough"
Tegan and Sara
"The Con"
3 out of 5 stars
If there was ever an album that just grew on me to the point of almost absolute obsession, it was Tegan and Sara's last album, 2004's "So Jealous." This album has a very different feel than the band's last one as a whole. It's a darker album, both in song structure and in the lyrical composition. Whatever the reason is for that, I'm not certain, nor am I going to speculate. But it's certainly heavier overall, with a little bit more of an experimental feel in some places. I'm not certain it's the best move for the Canadian twins to pull, at least to start an album. Not that I'm saying that all their records have to sound the same, but most people are looking for something familiar on each album.
It works on a few occasions, most notably on the record's title track. In contrast, "Are You Ten Years Ago" sounds more like something that you would find on an album by Kele Okereke and the rest of Bloc Party. In the second half of the album the overall consistency in quality really picks up and some of the album's best songs are here. But its style of somewhat quirky and jagged pop is too infectious to allow for a poor album. As it is, I still like their last album better.
Key Tracks: "Back In Your Head," "Burn Your Life Down"
(08/29/07 12:00pm)
Josh Rouse
"Country Mouse, City House"
4 out of 5 stars
The quick explanation of Josh Rouse is that he seems to have engaged a Ryan Adams-esque rhythm of writing and recording to the point where he has established himself as one of the most prolific singer/songwriters of the modern era. He has come out with eight full-length albums in the span of 10 years in addition to his Bedroom Classics EPs, a live and rarities disc, and the She's Spanish, I'm American EP he released with spanish singer Paz Suay earlier this year.
Having said that, his latest album could be described as the most relaxed and most subdued album Rouse has put out during this stretch. Maybe this is due to the fact that he considers this to be his "winter album" and across the board it certainly is the most chill and most at-ease record of the lot. Examples would be the hushed vocals on "Italian Dry Ice" or the unassuming groove of "London Bridges." The lessons that Rouse has learned over the years is evident as this is a rich album with layers of minimalist accompaniment that round out Rouse's almost trademark aural glow. It's the kind of performance that will continue to build his reputation as one of today's best songwriters.
Key Tracks: "London Bridges," "Hollywood Bassplayer," "Sweetie"
Spoon
"Ga Ga Ga Ga Ga"
3.5 out of 5 stars
To say that expectations were running high for Britt Daniel, Jim Eno and the rest of Spoon prior to this release is a bit of an understatement. Their last album (2005's "Gimme Fiction") could be defined as their breakout album and helped to significantly increase the band's fan base.
My first impression of this wasn't exceptional. I suppose that it was because I had developed a certain affection for "Gimme Fiction," both in terms of the way the album sounded and the way the album flowed. But this presents the perfect example of my cardinal rule for listening to/reviewing music: always give everything at least a second chance.
It's on the second listen that you begin to appreciate the subtleties that Daniel and Eno have thrown into the mix. Jagged guitars, space-filled arrangements and other eclectic instrumentation are scattered throughout this album along with some other flourishes.
The horn arrangements on the Jon Brion produced "The Underdog" are a nice touch. It's also the second time around that you really begin to notice the lyrics themselves, which in places are the best Daniel has written. When it all comes down to it, this is a worthy follow-up to their last album and a fine addition to the band's catalog.
Key Tracks: "Don't Make Me A Target," "Rhythm and Soul," "Cherry Bomb"
(04/25/07 12:00pm)
Nine Inch Nails
"Year Zero"
4 out of 5 Stars
A flurry of buzz surrounds "Year Zero," the fifth studio LP for Trent Reznor and NIN. However, it isn't concerning the music, which is a huge deal considering this is the best NIN album in 13 years.
Rather, the marketing and concept of the album have been drawing the most attention. There is a warning on the back of the CD case reading: "Consuming or spreading this material may be deemed subversive by the United States Bureau of Morality. If you or someone you know has engaged in subversive acts or thoughts, call." and an 866 number is given, which if called leads to an ominous automated phone message.
This is all part of the concept, which is of a paranoid and angry look at life in 2022 United States.
The concept fits the songwriting on the album well, which is overwhelmingly livid and politically charged, leaving no doubt that Reznor is not a fan of the current administration.
Musically, the band continues to redefine boundaries when industrial, heavy metal and even some hip-hop crash together amid a flood of electronic textures and layers of sound.
Note: After you play the CD for a while, it turns from black to white from the heat of the CD player. It changes back after time.
Key Tracks: "The Beginning of the End," "The Good Soldier," "Meet Your Master"
Wheat
"Everyday I Said a Prayer for Kathy and Made a One Inch Square"
3.5 out of 5 Stars
It's been a long time since we heard from Wheat. The band's last album found them signed to a major label for the 2003 release of "Per Second, Per Second, Per Second . Every Second," a dynamic album of sheer pop-rock bliss combined with strong songwriting.
Sadly, the label did not adequately support the band. Back again almost four years later, the band has returned to being the low key, mid-fi collective that they started out as.
This set of songs is decidedly more somber than their last, reflecting the changes and trials of the past few years.
The result is a set of shimmering, indie-pop gems that feature layered vocals, overdubs and meticulous attention to detail.
But what it lacks in terms of mainstream pop sensibility it makes up for in overall luminance.
Wheat's members have gone and made an album for themselves and in the process has rediscovered who they were. To some it may seem a bit selfish, but the album works really well. And I can't help but applaud them for it.
Key Tracks: "Little White Dove," "Move = Move," "Round in the Corners"
(04/18/07 12:00pm)
Maximo Park
"Our Earthly Pleasures"
3.5 out of 5 stars
Much like the band's immediate predecessors, including bands such as The Futureheads, The Kaiser Chiefs and, to a lesser extent, Bloc Party and Razorlight, Maximo Park has come out with a second album that is more elaborate and takes more risks than its debut. In order to reach this new level of intricacy, the band brought in producer Gil Norton, who has worked with such artists as The Pixies, Gomez, Feeder and the Foo Fighters.
For you readers out there who may be familiar with or fans of the spunky quintet of Newcastle-ers, fear not. This album is still chock-full of angular guitar lines and an excitable rhythm section accented by various synth lines.
However, rather than just charging through the record with their heads down, the band members took a step back and let the songs develop more fully. This approach doesn't work all of the time, but it does work for about 85 percent of this album.
In the end though, this album is as catchy as anything coming out of the UK scene today with several songs that rank among the best the band has put out. Above all else, "Earthly Pleasures" shows that Maximo Park has avoided the proverbial "sophomore slump" with a record that is rock solid from start to finish.
Key Tracks: "Karaoke Plays," "Parisian Skies," "Nosebleed"
Joseph Arthur & The Lonely Astronauts
"Let's Just Be"
3 out of 5 stars
Who the hell does Joseph Arthur think he is? It's been a mere six months since his last LP, "Nuclear Daydream," hit store shelves, and he has one more album expected to come out sometime in the fall! Perhaps he's trying to do his best Ryan Adams impersonation?
It seems to me that Arthur has been listening to his copies of "Beggars Banquet" and "Exile on Main Street" so much that he's worn the grooves out on the vinyl. Why do I say this? Simply because his new album eschews his traditional expansive singer/songwriter material in exchange for a Rolling Stones-esque, sweat-and-adrenaline, rock & roll sound.
"Let's Just Be" contains no studio tricks, no reverb, no fancy recording methods; it's just a band, some 16-track tape and a whole bunch of rock.
As it stands, some of the songs are a little bit "bloated," so to speak. Hell, "Lonely Astronaut" itself clocks in at 20:33. In addition to that, some of Arthur's choices as a front man come off as being more than a little bit raw, which I suppose is what he was looking to accomplish. It's a good record, but I'd be amiss to call it his best effort or even his second best effort.
Key Tracks: "Diamond Ring," "Good Life"
(04/11/07 12:00pm)
Hot Rod Circuit
"The Underground is a Dying Breed"
3.5 out of 5 stars
Every once in a great while a band comes along and does something so inspired that it leads to the creation of a new sub-genre of music. In my wildest dreams I would have never imagined that Hot Rod Circuit could be that band.
While most of "The Underground is a Dying Breed," the band's fifth LP and first since 2004, continues to purvey The Get Up Kids-style emo, there are a couple tracks here where guitarist "Spacey" Casey Prestwood breaks out the lap pedal steel and calls upon the work he has done with such groups as The Only Children and Drag the River.
The result is a conglomeration of emo songwriting and country-influenced undertones that I am from this point forward referring to as "emo-billy."
And contrary to what you naysayers out there might think, it all works really well. Quite frankly, I would have loved to hear them do this more often on this record. But the more traditional songs feature some strong songwriting and typically solid melodic-emo song structures. Hot Rod Circuit is a band that deserves much more credit than it receives within its genre.
Key Tracks: "Stateside," "US Royalty," "45's"
Ken Andrews
"Secrets of the Lost Satellite"
4.5 out of 5 stars
Over the past two decades, Ken Andrews has cast a thousand little shadows over the face of popular music.
He has made a name for himself as a musician during his time in the groundbreaking group Failure, as well as in Year of the Rabbit.
In addition to that, he has produced, engineered and mixed tracks and albums for an entire who's who of artists: Self, Creeper Lagoon, Air, Pete Yorn, Tenacious D, Black Rebel Motorcycle Club, Sense Field, A Perfect Circle, Mae, Copeland, Abandoned Pools and more.
This album, the first released under his own name, doesn't surprise anyone who is familiar with his previous works but stands as a wonderful continuation.
Crashing, melodic alt-rock guitars, much like the type exhibited in the Year of the Rabbit collection, come into play on occasion during this record.
Where the album truly stands out is in the flood of layered synthesizers and other sonic nuances that have been a major factor on his past few releases.
The result is a set of dark, expansive and epic alt-rock tunes that I will go so far as to say are orgasmically good, and that's not a term I throw around often.
Key Tracks: "In Your Way," "Does Anybody Know," "Up Or Down"