Teitur – Let the Dog Drive Home
Released October, 2010
I absolutely loved this album right from the beginning. I have always enjoyed a strong soulful tune and I feel that all the songs on this Let the Dog Drive Home created a really interesting outlook on new soul. It is hard to describe, but the tone was a blended mixture of indie and soul. The guitars sounded rugged and melancholy, but Teitur’s voice was extremely soulful and smooth. The combination at first was a little had to get used to and comprehend, but after the first couple songs began to play I found myself nodding along. The song When I Had It All really sounded like John Mayer to me, but other songs sounded more like Sufjan Stevens which brutally displays how diverse and subjective the tracks on this album are. Although I think the diversity will throw some people off, I really enjoyed the soulful aspect of the album and how well the themes on each song were displayed.
-KR
Kellen & Me – Kellen & Me
Released June 7, 2011
Audiotree Music
Kellen & Me is an electro folk band full of whimsy and low-fi leanings. ‘Space-Time Ride’ has a very unique sound and reminds me of 60′s pop. Every song on this album is carefully layered. In fact Kellen & Me use a loop machine to layer guitar tracks. After all, how can a one man band play that many instruments at once? There is a very low-key sound on this album, and some of the melodies just get you. He uses synth unlike many others. It is kept from being clubby and techno-y. It doesn’t lead the song, but backs it up to deliver cleverly written songs. ‘The Lovers Waltz’ is well a waltz song, but in Kellen & Me’s own style, they turn a very set in stone genre and give it its own flair with added synth and simple drums. Kellen & Me’s low-fi approach is wonderful and just goes to show you that you do not need a big budget and huge studio to make a great record.
-EM
Sweet Jane – Sugar for my Soul
Released July, 2010
Reekus Records
Sweet Jane’s “Sugar for my Soul” is a remarkabley simple and bitter sweet album that never over extends itself beyond the band’s limitations. It succeeds in creating bright, layered textures on almost every track, by far their greatest strength (I’ve noticed bands that employ someone on keys usually strive for such a quality, however, Sweet Jane does so with the guitars and vocals as well). Where Sugar For My Soul falls tragically short is its overall sound as it is tragically under produced. It sounds as if a pillow has been
duct taped over my speakers, forcing my to blast my stereo to achieve a suitable listening level. The bright spots are tracks 1, 8, 10 and 12. Track 1, Bleed, is probably the best, anchored by the album’s most
proggressive rhythms and featuring both the band’s vocalist crooning (albeit weakly and off pitch) back and forth. Track 8, Where’s Your Money, I the most sing-alongish with its folky lyrics reflecting the
times. Track 10, War Cry, has haunting vocal textures wailing, almost pleading over the instrumentation while track 12, Fade to my Heartbreak, is there best overall composition and is treated as such with the album’s longest intro.
-TG
Midwest Hype – DayGlow
Released January 5, 2012
Before I popped in the disk to listen to DayGlow by Midwest Hype I was extremely intrigued by the album cover. The most note worthy entity about the disk was the inside cover. It displayed each member of the band and I was in awe of how eclectic the group really was. The seven or so gentlemen each had their own unique style and presence to them both in fashion and posture. Each member had their particular contribution listed below their name and the amount of different instruments incorporated into the collection was astonishing. I was eager to listen to the first track and the sound right off the bat correlated very well to how diverse they appeared. When thinking of how to describe the sound Midwest Hype, I posed to myself the question of “what do they bring to the table?” After some pondering, I came to the conclusion that Midwest Hype is sort of like an aunt of mine that every Thanksgiving brings the same platter, but adds a new twist to it each time. This idea came to fruition even more greatly when I listened to the song entitled “Runaway.” The dynamics of the song greatly resembled an iconic pop tune that I could nostalgically recite in my head over and over, but at the same time was as unique as an ensemble that I had to keep listening. The entire album was well synchronized and truly lived up to its name. Each song has a certain mellowness to it, but is hyped by high pitched instruments and a strong cadence. The combination is very strong and although I do not know exactly what they are bringing to the table I am still for sure looking out for seconds.
-KR.
of Montreal -Paralytic Stalks
Released February 7, 2012
Polyvinyl
I never know what to expect with Of Montreal (They are a part of the Animal 6 Collective which includes the Circulatory System, The Olivia Tremor Control, Neutral Milk Hotel, Elf Power, and Apples in Stereo), which is very good thing. They do not disappoint on Paralytic Stalks. This indie pop, rock, funk, psychedelic, and R&B, have got so much going on. I got the genre list from wikipedia by the way. Every track is a pleasant surprise. If I was to best describe Of Montreal’s, it would be a sexier Beatles whom also happened to be stuck in a permanent acid trip. They have that perfect pop sound, not that annoying pop crap that is shoveled down societies throats on the lamestream radio, but that beautiful 60′s pop sound. The music is so catchy without being repetitive in nature. I cannot even describe some of the sounds this band puts out. All I know is if you want your mind blown, give this record a listen.
-EM.
The Handgrenades – Three Cheers for the Wonder Years
Released January 28th, 2011
Sound Artifacts Music
The two tracks displayed from the Detroit based indie group that go by the name The HandGrenades play close to what your ears and mind would expect. The first track opens up with a prototypical sound that connotes pure rebellion and stark sounds of pain. “Sunshine” as it is called is song that plays along the common theme of hope and freedom. The lead singer seeks to smoothly and clearly display his aspirations for the future through well-built vocals and lucid audio production. The contrast between the vocals and instruments is just enough that it allows for a solid combination that is pleasantly bold. The second track entitled “See You ‘Round” has less flow than its predecessor and its strengths are drowned out by its weaknesses. The overall message of the song about how a man loses everything in a relationship is displayed very well, but the piercing chords of the track make the vocals of the song difficult to hear clearly. The lyrics are unyielding, but the strong hooks and clever sounds outweigh the vocals of the artist.
-K.
The Gaslight Anthem – iTunes Session
Side One Dummy Records
Released October 18th, 2011
When I saw The Gaslight Anthem in my folder for review, I was ecstatic. Their record the 59′ sound was absolutely terrific, so I was definitely ready to jam out to the Anthem. They cover three songs on their session, Baba O’Riley by The Who, Refugee by Tom Petty, and State of Love and Trust by Pearl Jam. The are able to walk the thin line between covering the song well and retaing their own sound in the process. Usually bands fall into either camp, but The Gaslight Anthem pulls it off. The third track sounds like if you cloned Bruce Springsteen and made him listen to punk rock. Brian Fallon’s vocals are powerful yet soulful with a dabble of punk gruff. The songs scream Americana, everything from how the guitar to drums harken back to a generation of music that is hardly recognized by the mainstream music listeners. The Gaslight Anthem have a totally unique sound and I bet you that their next album ends up on several year end lists. Just remember I called it!
-EJM.
Ben Folds - The Best Imitation of Myself: A Retrospective
Legacy Records
Released October 11, 2011
Ben Folds has accumulated a large amount of work over the years as a musician- 12 records in counting to be exact, both as a solo artist and as the frontman and pianist of the band Ben Folds Five. From the title alone The Best Imitation of Myself: A Retrospective spells out clearly what the album consists of; a compilation of songs showcasing Fold’s musical capabilities as he looks back at his days starting out to his slow transition into a respectable artist with a more mainstream following while devotedly trying to perfect his style of light alternative rock.
His approach to song writing appears purposefully minimalistic, as if he knows not to throw every element he can into a track but only adding what he feels is most necessary. His significant use of piano is similar to that of piano rock band Jack’s Mannequin except more stripped down. Paired with his mellow voice, it’s almost charming. “Landed” perhaps the most well known song by Folds opens with a classic piano intro from the artist, closely followed by a swell of strings to support his ballad. ”Annie Waits”, complete with hand claps, bounces with liveliness. When Folds gets it right, the intention of his songs translate well. The problem then arrives when he occasionally falls short of expectations such as in “Rockin’ The Suburbs”, which leaves the listener a little confused as to what he’s trying to achieve. However he does well to spice it up and add a live performance to the record, not to mention one that features the West Australian Symphony Orchestra which more than highlights the track with a gorgeous arrangement of instruments.
“If I’m the person you think I am, the clueless chump you think I am…why the **** would you want me back!?” Folds cheekily inquires in “You Don’t Know Me”, set up as a dialogue heard by a fly on the wall in the room of a
bickering married couple, inspired by one of his previous relationships gone wrong. His lyrics often contain the same quality, humor ranging from silly to dry with a touch of sarcasm, with the target of mockery frequently being himself. His words seem to be a reminder not to take things so seriously, as he definitely doesn’t. The track itself has a strong R&B flavored beat that, sprinkled with the delicacy of featuring artist Regina Spektor’s vocals, compliment well with the simplicity of the song.
The Best Imitation of Myself: A Retrospective offers long time fans a treat that allows them to fondly reminiscence on their favorite songs by the artist while also letting novice listeners know who Ben Folds truly is at his core, or at least his best imitation. For those who haven’t extensively listened to his music beforehand, this album might be a good place to start.
-JG.
Lights – Siberia
Lights Music/Last Gang Records
Released October 4th, 2011
With the release of Siberia, Lights Valerie Poxleitner known simply by her professional name, Lights, has a second album under her belt. The Canadian musician known for her blend of sugary synthpop and electronica with soft melodic undertones offers this time around a sound that packs more of a punch than her previous album The Listening. Dubstep is a strong influence as heard in her use of heavier beats, yet she manages to not let them overpower and instead (for the most part) seamlessly stitches them along with the backbone of the songs, creating a groove that’s mighty contagious. “Everybody Break a Glass” almost demands for a limb or two to start moving the moment the verses kick in. “Timing is Everything” follows suit and goes down the same infectious route.
“Flux and Flow”, possibly the best track on the whole record, however takes a hairpin turn and boldly dives into a realm that’s gutsier than the artist is recognized for, revealing a more intriguing angle unexpected of the 24 year old. With a youthful girly voice that almost hints toward child-like innocence, hearing a hefty amount of depth than usual behind her vocals makes it clear that Lights has more potential than some might initially think. There are also moments of rhythmic heaviness that creates almost a heady sway, apparent in the 12th track “Fourth Dimension”. Its melody is reminiscent of a lullaby, albeit one with a steady boom of synthesizers in the background. With a musical style that runs the danger of sounding boisterous, it instead becomes channeled into something harmoniously intense, surprisingly enough.
While Lights might consider her simpler approach to writing songs her forte, tracks like “Siberia” and “Peace Sign” fall flat and seem bland in comparison to the songs where she pushes herself both vocally and creatively. It seems that the moments in Siberia that truly shine are the ones where she chooses to step beyond her comfort zone and acknowledges a daring, more innovative side of herself.
-JG.
Bjork – Biophilia
Nonesuch Records
Released October 10, 2011
No matter how you look at it, Biophilia is simply a bizarre album, or rather “multi-media project,” if you want to acknowledge it as such. While by Bjork standards a bizarre approach is expected and even welcomed, for a project with such strong conviction to a grandiose concept it seems to be weakest where it matters most; the music. Bjork’s all-important solipsistic nature seems to have diminished and taken with it her distinguished ear and ability to filter her myriad ideas.
The album is centered on scientific concepts and how they can translate into music. While this sounds like a promising focus fertile with potential for out-there sounds, no single track seems to achieve the sense of bio-musical synthesis that Bjork has promised. Rather, they seem to be vehicles for an educational iPad suite teaching things you might find in a high-school physics textbook.
I have to wonder if the four years spent making the record were focused more on the creation of imaginary instruments and the iPad app suite than on actual songwriting. Most of the songs are packed with disparate sounds that never seem to congeal or form a driving rhythm or make a point. Worst of all, the sounds are all damn-near-silent most of the time, leaving only Bjork’s lonely vocals. Loudness isn’t by any means necessary and space can be a great tool for making a musical point, but usually as a means of accentuating the parts where the arrangement is full and moving. The sounds on this record are simply disinterested and lost. Even the few sounds which manage to stick out for brief moments faultily pander to movements already far back in most people’s rear-view mirror, namely dubstep and ‘90s-era-IDM.
Everything seems to be minimal right down to Bjork’s vocals, arguably the most crucial element of her songs. She doesn’t seem engaged or interested in the works, and the playful attitude she brings to her best pieces is altogether absent from the entire record. If she can’t hold our attention, I doubt an instrumental Tesla-coil will, especially if you remove the visual element from the mix.
In short, many of the concepts present in the project as a whole would have been best transcribed into a musical form. It’s a shame the record was envisioned as being ensconced in this multi-media scaffolding from its inception, as this approach seems to have constricted what it can achieve on its own, and at the end of the day I’d wager most people will only know the music exists and wonder what happened upon hearing it.
-RK.
