The hottest music from Chicago & beyond

Month: July 2011

Album Review: Eleanor Friedberger – Last Summer [Merge]


For years now, we’ve stood by and simply watched (or listened) as Matthew Friedberger unleashed solo record after solo record during brief breaks from his main band The Fiery Furnaces, of which he is a main part of along with his sister Eleanor. Well, technically speaking, Matthew has only released a couple solo albums, the double discer that was “Winter Women and Holy Ghost Language School” back in 2006. This year though he’s freaking out and unleashing 8 albums of original material as part of a project called “Solos”, where he spends an entire record with just a single instrument and his own voice. If you separate out all of those various LPs in addition to the ones still forthcoming in 2011, he’ll have put out more solo full lengths than he has with The Fiery Furnaces. All the while, Eleanor Friedberger has done nothing on her own, leaving many curious as to what she might come up with were she to pursue such a path. Well, wonder no more, because last summer she recorded her first solo album. Now here we are, one year later, and that record is finally out, and very naturally titled “Last Summer”.

Anyone that’s ever heard a Fiery Furnaces album before knows what Eleanor is like behind the microphone. Her vocals are done in an almost sing-speak fashion, and that’s primarily due to the extensive amount of lyrics she’s got to spit out within the confines of a typical song. She writes the stuff too, and tells stories both real and fictional concerning her own life or the lives of others. On “Last Summer”, those hallmarks remain, though the stories she tells across this album are 100% true things that have happened to her. Not that it makes much of a difference in the end, except in making close analysis of the lyrics that much more poignant. She talks about a failed attempt to rekindle an old relationship on opening track and first single “My Mistakes”, even though the song itself is such a delightful slice of synth pop pie that you’d imagine it’d have to be about something more upbeat and fun. On the funky “Roosevelt Island” she details a trip she made to the New York neighborhood, leading off with an anecdote about encountering a doppelganger. “We saw a picture of a girl with the same hair and I posed next to her/Made a great photo but I never thought I’d see her again/Didn’t really ever want to see her again,” she sings with the most rapid-fire delivery possible. Dealing with the specific time frame of when the album was recorded, “Glitter Gold Year” mentions 2010 many a time, to the point where Eleanor begins to play around with just HOW she sings it. But she’s also apparently not happy with said “glitter gold year”, beacuse she also often repeats, “you said it wouldn’t be so bad, but it’s worse”. Seeing as how “Last Summer” is a recording of tales from 2010, there most definitely is no way that’s getting erased anymore, not that we’d want it to anyways. Even the most experienced New Yorker can sometimes get lost in such a large city, and “Owl’s Head Park” is an amusing tale about how going to pick up a custom-made bicycle left her at the titular park and unsure of how to get home. “The boys on the F train said that frame was fresh/it was the color blue/but I didn’t know my way/so I couldn’t get home to you,” are a few lines that emphasize just how Friedberger is able to keep a plot moving along while also providing miniscule details that enhance what’s already there. It’s a big part of what makes The Fiery Furnaces so unique and exciting, and it plays the same role on her solo effort, though with slightly different sonic results.

The two separate Friedberger halves of The Fiery Furnaces work so well together because of how their individual dynamics come into play. Matthew is the guy who puts together all the weird sonic experiments, while Eleanor writes and sings behind those avant-pop sounds. Rare is the Fiery Furnaces track that is straightforward and simply structured. The closest moments you’ll get to pure pop from the band comes through in tracks like “Single Again,” “Here Comes the Summer”, “Benton Harbor Blues” and “Tropical Iceland”. If you loved those moments, or if they’re some of the only songs you actually like from the band because the rest is too strange, then “Last Summer” is the record you’ve been waiting for. The songs almost always hold a typical verse-chorus-verse structure, and the oddest instrument used is either the saxophone or harmonica. Actually, the saxophone solo that closes out “Owl’s Head Park” is one of the most fascinating moments on an album that’s by no means lacking in them. The vibe is very much 70s pop throughout, and various aspects of it show up on certain tracks. “Roosevelt Island” mines the territory of past greats like Stevie Wonder or The Commodores. There’s a nice bit of psychedelia on “Inn of the Seventh Ray”, particularly when Eleanor’s vocals are hit with the echo effect and the synths are bleeping about like they’re floating within that same ether. “I Won’t Fall Apart On You Tonight” has some more fun with the vocals, creating some splendid backing harmonies that essentially make it a girl group song. And a pair of beautiful acoustic guitar-based folk ballads turn up as well courtesy of “Scenes from Bensonhurst” and “One-Month Marathon”. Though there are obviously some personal instrumental touches in there, at their core they recall some of the amazing folk records from artists like Joni Mitchell or Joan Baez. There may be a mixture of diverse styles across these 10 tracks, but Eleanor’s own quirks along with a serious knack for crafting memorable hooks makes everything work, even if she never pushes too far in one direction or the other.

Weighing “Last Summer” against all the other music with a Friedberger name stamped on it is a tough thing to do. Matthew’s influence has undoubtedly been a good on for the sake of originality and experimentation, but there’s something to be said for exceptionally strong writing and powerfully addictive pop songs. “My Mistakes” factors in pretty well to be one of the best, catchiest things you’ll hear this calendar year, and there’s a secret sort of delight to be had from condensing the weirdness of The Fiery Furnaces into something wholly pure and easily digestible. The mood of the album too, given its summer release date, makes for a perfect soundtrack to one of those lazy days hanging out at home with the sunshine streaming in through the windows. Yeah it works best in summer, but even in the winter it can probably be used to warm you up a little bit and bring out that innate longing to travel to the Inn of the Seventh Ray or ride the Cyclone on Coney Island. These may be Eleanor’s memories of things that have happened to her, but the way that she spins those tales tend to put us there with her. Honestly, there are far worse ways to spend your money and 40 minutes of your life. While the album likely lacks the staying power of a “Blueberry Boat”, the immediacy and lack of a learning curve make it special in its own way. Matthew may be releasing 8 albums this year, but it’s doubtful that any one of them will be as lovely and wonderful as “Last Summer” is.

Eleanor Friedberger – My Mistakes

Eleanor Friedberger – Scenes from Bensonhurst

Buy “Last Summer” from Amazon

Pick Your Poison: Friday 7-8-11

Do I need to remind you that it’s Friday? I hope you’ve got some insane weekend plans coming up. Summer’s just the time to do wild things with time spent outside and such, so go all in and enjoy it. After my small rant against the Dave Matthews Caravan yesterday, if you are going I hope it’s tons of fun despite some of the artists playing. Of course you probably don’t have time to download and listen to new music if you’re booked solid, but if you’ve got a few moments or are just catching up after the weekend, there’s lots in today’s Pick Your Poison to enjoy. My personal stamp of approval rests on songs from Arc in Round, Broadcaster, The Earth Is A Man, My Brightest Diamond, Otherness, Pure X, Tidelands and Wooden Shjips. And for fans of Black Moth Super Rainbow, there’s a new track from side project/band member Tobacco in the Soundcloud section for your streaming pleasure.

Acid Glasses – My Pale Garden

Arc In Round – II (A Sunny Day in Glasgow Remix)

Broadcaster – Vacation Days

ConRank – Time to Go (ft. Pleasureland)

The Earth Is A Man – Dymaxion

Killed By 9V Batteries – Worst of Total Anarchy

Little Horn – Thief

Los Ribereños – Silbando (GRC Remix)

Mountain Man – Come All Yee (Live at the Wiltern)

My Brightest Diamond – Reaching Through to the Other Side

Otherness – Crystalline

Pocketknife – Cotton Candy
Pocketknife – Pillow Talk

Pure X – Dry Ice

R O M A N C E – River Runs Red

Superhuman Happiness – GMYL

Tidelands – The Ship

Veronica Falls – Come On Over

Wooden Shjips – Lazy Bones

Yeasayer – Madder Red (Hermanos Inglesos Remix)

SOUNDCLOUD

Le Galaxie – Earth

Midnight Lion – Plastic

Tobacco – Streaker feat. Notrabel

Album Review: SBTRKT – SBTRKT [Young Turks]


Let’s get the clarifications out of the way right from the start: when talking about SBTRKT, feel free to pronounce it “subtract”. This isn’t MGMT, where they get upset if you call them “management”. Of course saying each individual letter S-B-T-R-K-T can be a bit stressful to the tongue versus how much easier the 4 letters of M-G-M-T are to rattle off. So save some breath and just keep it simple. That could also very well be the unofficial motto of SBTRKT’s self-titled debut. Calling it easy on the ears is accurate, but by no means should that indicate that the music is dumbed down or skewed purposely towards picking up as many new fans as possible. Downbeat electro minimalism is the name of the game, and unlike his similar counterparts in a James Blake or Jamie Woon, SBTRKT isn’t trying to make his music glitchy or tough to follow. Compelling and expertly crafted seems to be good enough for him, and if it’s good enough for him, it’s good enough for us.

You should know that SBTRKT is less of a musician and more of a producer. He’s helped out a number of artists and done plenty of remixes, to the point where he’s known much more for that stuff than any original material he’s put together himself. In creating his own songs, most everything is electro-heavy without much in the way of actual live instrumentation. There are vocals on most of his songs, but they’re never his own. Guests on his debut album include Sampha, Little Dragon and Roses Gabor, among others, all contributing their voices to songs that are tight and engaging while holding onto a grand sense of modesty. The couple instrumentals definitely hold their own, but SBTRKT is smart in spacing them out across the album to avoid running into too many quiet, vocal-less passages. Additionally, the emphasis placed on the song itself rather than a particular beat or other element gives each track an earnest and more pop-driven appeal than a lot of the other music coming out of this particular subgenre.

While the first couple tracks on the album are by no means bad, it’s not until “Wildfire” hits that things really start to take hold. Little Dragon’s super smooth vocals are a big part of what makes it work so well, very much akin to her guest spot on the song “Empire Ants” from last year’s Gorillaz record “Plastic Beach”. Sampha does the wealth of singing on the album, guesting on about half the tracks. His voice has a distinct quality to it that works well in an R&B sort of way, and thankfully SBTRKT provides him with the necessary backing elements to pull off a solid assist. “Trials of the Past” is his biggest moment on the album, though “Something Goes Right” is pretty accurately titled as well. Roses Gabor’s turn on “Pharoahs” makes for a later highlight too. What surprising is how remarkably solid the entire album feels. For something that’s got a mixture of guest appearances, it could easily have fallen into territory like UNKLE, where the list of contributing artists can make or break it. Whether it’s one or three or ten, SBTRKT is smart enough to have the guests play to his strengths rather than the other way around.

Putting it bluntly, SBTRKT is for the crowds that have wanted to get into the more downtempo, quieter side of electronica but have had a tough time doing so because other artists have made it difficult to do so. They’re simply flexing their creative muscles to their maximum, and interesting though it may be, commercially appealing it is not. SBTRKT may not have any full-on club hits via his self-titled debut, but at the very least this is a wholly listenable and remarkably interesting set of songs. Experimental may not be the operative word that comes into play, but when you know how to put together a strong set of songs, the innovative side isn’t necessarily the most important one. Not knowing much about what a SBTRKT record might sound like considering his pedigree and initial EP, this record is a pleasant surprise. If he’s able to continue to put together albums this good, keep an eye and an ear out – SBTRKT is one to watch.

SBTRKT – Wildfire

Buy “SBTRKT” from Amazon

Pick Your Poison: Thursday 7-7-11

Well, this weekend marks the Chicago stop for the Dave Matthews Band Caravan tour. If you’ve not heard of this monstrosity, it is a 3 day festival complete with a lineup of jam bands, alt-country and a host of other artists of a wide variety. It’s part hippie fest and part frat kid celebration, even if it does boast a few artists that I legitimately like. If you’re going, I hope you have fun. If you’re not going, I think you’ve spared yourself some cash and can probably find a better, more enjoyable use for it. Part of me hopes that the DMB tour bus has another “incident” in which a bus driver “accidentally” dumps human waste onto a boat of passing tourists. It’s been a few years since the last time DMB did that, so doing it again might help to keep things fresh. Just a suggestion. If you want to discover some great new music you won’t hear at the Dave Matthews Band Caravan, look no further than Pick Your Poison for today. Highlights include tracks from Dog Day, Fair Ohs, Go Rydell, Las Kellies and Young Circles. In the Soundcloud section you’ll also find Toro y Moi’s remix of Cut Copy, which is fantastic.

Acid Rage – Fear (Original Mix)

Adele – Someone Like You (Buffetlibre Remix)

The Amends – Hotel Lobby (Demo Mix)

David Berkeley – Independence

Dog Day – Part Girl

Ettica – Sombrero

Eyeshine – Hope Is So Far Away
Eyeshine – Our Whole Lives Tonight

Fair Ohs – Baldessari

George Ellias – Wonder Babe

Ghastly City Sleep – Into the Dark (Alan Siegler Remix)

Go Rydell – Battery Park

Las Kellies – Keep the Horse

Low Duo – No Happier

Luke Rathborne – You Let Me In

Parker – Jeremy Twitcher

The Voluntary Butler Scheme – Yo-Yo Star

Young Circles – 2012

SOUNDCLOUD

Cut Copy – Blink And You’ll Miss a Revolution (Toro Y Moi Remix)

The Heaven’s Jail Band – Pretty Lady Blues

Induce – Pretty

Ursa Minor – Guerilla

Pick Your Poison: Wednesday 7-6-11

They say time flies when you’re having fun. Well, I don’t know if I’m having a lot of fun or it just has something to do with the holiday off on Monday, but to me it feels like this week is just moving at a super high rate of speed. Next thing you know 9 days will have passed and we’ll be celebrating the start of the Pitchfork Music Festival. Have I mentioned that I’m really psyched for that? If you’re going, you should be too. And if you’re thinking about going but haven’t put down some cash for tickets yet, you might want to hurry as from what I understand the days are getting ever closer to sell out status. Have a look at the official festival website for more details. There aren’t any Pitchfork Music Fest artists in today’s Pick Your Poison, but that doesn’t make it any less exciting or good. I can recommend tracks from Crystal Antlers, Fruit Bats, Grey Area, Old 97s, Simian Ghost and Tennis Bafra.

Black Casino and The Ghost – Falling Into Pieces

Crystal Antlers – I Slept In An Arcade (Black Randy & The Metrosquad cover)

Dex Romweber Duo – Jungle Drums

Fruit Bats – WACS (ft. J. Mascis)

Grenades For The Wall – The Soundtrack of My Life

Grey Area – Bliss

Iròi – Usual Pop Line (Populous Remix)

Left Boy – Jack Sparrow

New Animal – These Walls

Ravishers – Keep You Around
Ravishers – Nobody Falls in Love Anymore

Old 97s – Brown Haired Daughter

Quiet Lights – Simple Mechanics

Simian Ghost – Make Me Feel (Blood Demo)

Smokey Robotic – Bazooka

Star Commander – Leave Her in America
Star Commander – Dear Johnston, My Friends Are Demons

Tennis Bafra – nnn

SOUNDCLOUD

Crookers Presents Dr. Gonzo – Dushi

Izabo – Summer Shade

Mabel Love – Hardened Face

The Skeleton Dead – Lock the Doors

Mid-Year Roundup: 5 Disappointing Albums From 2011 (So Far)

Every year around the start of July, it becomes abundantly clear via the calendar that we’ve hit the halfway point. Six out of twelve months have passed, and given that amount of time it feels appropriate to look back briefly on some of the highlights (and lowlights) of the music we’ve heard thus far. Rather than approach it in a typical “Best Albums” format (no hints as to the “master list” that will emerge in December), I like to instead examine the first half of the year in terms of “surprising” and “disappointing” albums. The differentiation between the two isn’t as simple as good and bad or black and white. There are records on the Surprising Albums list that won’t show up at year’s end as the “Best of” anything, and by that same token, just because a record winds up on the Disappointing Albums list doesn’t mean it’s destined for the bargain bin. In order to achieve the designation of being “surprising”, a record simply needs to blow my expectations out of the water. You turn it on expecting a total crapfest and wind up with something that at the very least leaves you moderately satisfied. A strange turn of events towards the positive side of the spectrum. Opposing that, those albums designated “disappointing” earn that label by building expectations prior to its release and then failing to meet them. Everyone WANTED to like the fourth Indiana Jones movie of the 3 “Star Wars” prequels, but in the end it was letdown city. You earn a reputation for greatness and then slip up for whatever reason. So as to avoid any sort of confusion or suggestion that any list is ordered in such a way that these albums are ranked, I’ve arranged each list to be alphabetical by artist. If you like, feel free to also click onto the links provided to read my original reviews of the albums on these two lists. Today we’ll tackle my list of “5 Disappointing Albums”. If you missed yesterday’s list of “5 Surprising Albums”, you can read that piece by clicking here. I hope you have fun and enjoy these lists, and by all means feel free to let me know what some of your most surprising and disappointing albums from the first half of the year are in the comments section.


Bright Eyes – The People’s Key (Original Review)
It’s just a tiny bit unfair to say that “The People’s Key” was a disappointing album. For devoted Bright Eyes fans, this was more of a record that wanted to give something back after a pair of mediocre-to-bad solo/Mystic Valley Band long players. Oberst was exploring more of an alt-country angle that devolved into frat boy rock after awhile and just wasn’t working. By contrast, “The People’s Key” sought to bring something good back to the Bright Eyes name, maybe for one last time before it gets retired, and does a relatively good job doing so. Oberst’s lyrical witticisms are strong and viable, and the songs themselves are among the most commercially pleasant that he’s ever written. The record is a full step ahead of even the last Bright Eyes album, 2007’s “Cassadaga”. So what makes this record so damn disappointing then? If this is the best album Oberst has been associated with in years (save for Monsters of Folk), shouldn’t this small victory come as a pleasant surprise? On paper, that’s absolutely what it should be. In context, this is more of a pyrrhic victory than anything else. Oberst may still know how to string words together that are jaw-droppingly brilliant, but now they’re colder and more distant than ever. We easily could have and should have given up on the thought that maybe Bright Eyes would return to the days of “Fevers and Mirrors” where he was an emotionally scarred and scared kid, but if that side of the band changed your life, giving up is that much harder to do. Then there’s the concept of “selling out”, which to his credit Oberst hasn’t really done, but the much more rocking and much more easy to digest nature of “The People’s Key” seems to suggest it’s what he wanted. There’s something coldly calculated about this record in how it seems designed to please people. If this truly is the final Bright Eyes record, we definitely know he could have done better, even if it meant torturing his soul for just a little longer. That’s all we really wanted anyways. Buy it from Amazon


Panda Bear – Tomboy (Original Review)
To those that used “Tomboy” as their introduction to Panda Bear, I feel a little sorry for you. It’s by no means a bad record, but to put it more broadly, it’s like first hearing Weezer via “The Green Album”. Your experience with the artist isn’t ruined, but there are far better entry points you could have taken. With Panda Bear, your one and only spot to jump in was via “Person Pitch”. That was a record not just mindblowing in 2007 when it was first released, but it’s one that continues to shake worlds even today. It was a record fiercely ahead of its time, launching a whole other genre unto itself that wouldn’t fully blossom until over a year later. Plus, it shared some of the spotlight with the Animal Collective record that would soon follow it, “Merriweather Post Pavilion”, which is very much its own story too. So it was a very good couple years for Noah Lennox. Where “Tomboy” found him earlier this year was in a lot of the same headspace where those two albums were made, but in a world that had vastly changed its musical landscape since then. What was once ahead of its time and brilliant suddenly registered as being a retread of old ideas and at the very most exploitative of current trends. Panda Bear still stands higher than many of his now similar counterparts on “Tomboy”, but the hope was for less of that and more of an admirable attempt towards keeping the expansion of his sound going with even fresher techniques this time. Was he out of ideas, or just trying to bide some time? We’ll know for sure next time. Buy it from Amazon

MP3: Panda Bear – Last Night at the Jetty


Radiohead – The King of Limbs (No Original Review)
I have never reviewed a Radiohead album, and by all accounts I probably never will. I bear no hatred or ill will towards the band, and in fact my feelings are closer to the opposite. My primary concern is that once I start writing about the band, I won’t be able to stop myself. I intensely study every single Radiohead album to the point where a day rarely goes by in which I don’t hear one or more in full. I would write a 300 page book on them in 10 days if somebody would commission it. I go from vinyl to CD to mp3 to nitpick little details and discover elements unique to each format. Obsessive is one way to describe it. The point being, I continue to hold the belief that there has never been a legitimately bad Radiohead record (not even “Pablo Honey”), and “The King of Limbs” only affirms such a stance even more. What amuses me is all the anger being heaped upon the band for making an album that’s a completely logical progression from where they’ve been before. Coming off the success that was “In Rainbows” is what essentially screwed them. Say the band had reversed the release order of their last two albums, so “The King of Limbs” came out in 2007 under a “pay what you want” scale and “In Rainbows” was a carefully priced “newspaper album”. My argument is that the reaction to both records would have been noticeably different. In fact, “The King of Limbs” feels like a natural progression out of the “Kid A”/”Amnesiac” days more than anything else, combined with a slice of Thom Yorke’s solo effort “The Eraser”. But the cold hard truth is as follows: after a hugely successful revival and radicalization of the music business that was “In Rainbows”, Radiohead retreated into their own heads and made the record they WANTED to make, fan reaction be damned. They’re really fucking brilliant still, it’s just this doesn’t seem to be the expected or right thing to be doing at this juncture. So people have been bitching and moaning about it, and they’ll continue to bitch and moan about it until Radiohead straightens up and flies right again. The only reason this record should be a disappointment is if you were expecting something truly revelatory or earth-shattering. As for me, that’s what I expect from the band every time. Buy it from Amazon


The Strokes – Angles (Original Review)
After the mess of a record that was “First Impressions of Earth”, The Strokes were on the verge of breaking up. They never officially announced a break up, but given their lengthy hiatus and establishment of other projects, you could easily understand if they pulled a Jack White and woke up one day saying that The Strokes had nothing left to offer the world. What motivated these guys to get back together again was likely more monetary than anything else. The return of The Strokes meant that dollar signs were in their future, as evidenced by a number of sold out shows when they first began to resurface. Shortly after word had gotten around that a new album was on the way, the band put out a new single “Under Cover of Darkness”. Unlike their douchey third album, the song sounded like it belonged in the same sessions as their first two amazing records, and that only pushed hopes and dreams higher that now was the time The Strokes would truly be able to capitalize on their success. Then again, reports were also surfacing of band members calling one another out for things and word that Julian Casablancas came in and recorded his vocals separately from the rest of the band. Not a great sign for personal relationships, but if the album worked then so be it. “Angles” turned out to be a small failure almost entirely because of the band’s inability to fully cooperate with one another. Traverse its 10 songs and you’ll find a handful of different perspectives written into what was supposed to be just one. This disconnection ultimately hurt the album, yet it remains better than “First Impressions of Earth”, which is something of a compliment. Word on the street is that everybody’s friends again and recording for the next Strokes album has been good so far. Start crowwing your fingers now. Buy it from Amazon


TV on the Radio – Nine Types of Light (Original Review)
The fellas in TV on the Radio had been on a hot streak the likes of which had not been seen since Radiohead pulled off the perfecta trifecta that was “The Bends”, “OK Computer” and “Kid A”. The TVOTR perfecta trifecta amounted to “Desperate Youth, Bloodthirsty Babes”, “Return to Cookie Mountain” and “Dear Science”. All three of those albums were at or close to being named the best albums of their respective years by a number of publications (including this one). Not only that, but those three records were released in a span of 6 years that coincided perfectly with a tour-record-tour-record pattern. Naturally, they were in need of a break. The hiatus came, band members focused on side projects, and after close to a year off they reconvened to craft their fourth full length. Either they needed to take a longer break or have simply run out of fresh ideas, because “Nine Types of Light” represents a new low from a band whose level of respect was at an all-time high. That’s not calling the album bad, that’s saying a couple small blemishes have appeared on what was once a pristine surface. There are a few distinct album highlights, from “No Future Shock” to “Will Do” and the effervescent closer “Caffeinated Consciousness”, but the weakest turns are made via the slowed down, quieter moments. TVOTR can do sleepy ballads very well, as evidenced by their past ones, but when you string a few of them together it starts to drag the entire album down. Such is the case here, even if each one is frought with substance and meaning. “Nine Types of Light” is a step down for the band, but more like a minor half-step than a taller, cliff-sized one. Buy it from Amazon

TV On The Radio – Will Do

Pick Your Poison: Tuesday 7-5-11

Hope you all had a delightful extended holiday weekend. Typically I’ve still posted some mp3s even when everyone else takes the day off, but for once I really wanted to simply chill out and not have to worry about a post. Sorry if you were hoping for some 4th of July music on the actual date. I tried to help you out on Friday’s Pick Your Poison. I’ve actually got a couple 4th of July-related songs for you today. A day late and a dollar short, but better late than never. Songs I can recommend in today’s edition include ones from Austyn Sullivan, The Grownup Noise, Little Deadman, Little Horn, The Soft Moon and Unnatural Helpers.

Ariel Abshire – Fourth of July

Austyn Sullivan – Desolation Melody

Cabin Dogs – Twilight

Clara May – Hush

Company – The Departed

Dan Hubbard and The Humadors – This Is Your Life

The Deep Dark Woods – West Side Street

Don Rimini – Whatever (His Majesty Andre Remix)

Early Winters – 4th of July (X cover)

GDFX – LAOQI > TULA

The Grownup Noise – The Artist Type

Little Deadman – Post Helado Madness

Little Horn – All My Friends

The Soft Moon – Tiny Spiders

The Trashies – I Wanna Destroy

Unnatural Helpers – Sunshine/Pretty Girls

SOUNDCLOUD

AM & Shawn Lee – Dark Into Light

Fanzine – Low

T H E S L O W D O W N – SEX

Mid-Year Roundup: 5 Surprising Albums From 2011 (So Far)

Every year around the start of July, it becomes abundantly clear via the calendar that we’ve hit the halfway point. Six out of twelve months have passed, and given that amount of time it feels appropriate to look back briefly on some of the highlights (and lowlights) of the music we’ve heard thus far. Rather than approach it in a typical “Best Albums” format (no hints as to the “master list” that will emerge in December), I like to instead examine the first half of the year in terms of “surprising” and “disappointing” albums. The differentiation between the two isn’t as simple as good and bad or black and white. There are records on the Surprising Albums list that won’t show up at year’s end as the “Best of” anything, and by that same token, just because a record winds up on the Disappointing Albums list doesn’t mean it’s destined for the bargain bin. In order to achieve the designation of being “surprising”, a record simply needs to blow my expectations out of the water. You turn it on expecting a total crapfest and wind up with something that at the very least leaves you moderately satisfied. A strange turn of events towards the positive side of the spectrum. Opposing that, those albums designated “disappointing” earn that label by building expectations prior to its release and then failing to meet them. Everyone WANTED to like the fourth Indiana Jones movie of the 3 “Star Wars” prequels, but in the end it was letdown city. You earn a reputation for greatness and then slip up for whatever reason. So as to avoid any sort of confusion or suggestion that any list is ordered in such a way that these albums are ranked, I’ve arranged each list to be alphabetical by artist. If you like, feel free to also click onto the links provided to read my original reviews of the albums on these two lists. Today we’ll tackle my list of “5 Surprising Albums” and tomorrow will top it off with “5 Disappointing Albums”. I hope you have fun and enjoy these lists, and by all means feel free to let me know what some of your most surprising and disappointing albums from the first half of the year are in the comments section.


…And You Will Know Us By the Trail of Dead – Tao of the Dead (Original Review)
Creating an album that many deem to be “perfect” is more of a curse than it is a blessing. Yes, you’ll achieve something not many others can lay claim to, but the weight of that success will likely crush you and ultimately handicap you for the rest of your career. Such is the case with …And You Will Know Us By the Trail of Dead, a band whose 2002 album “Source Tags and Codes” remains one of the highlights from the last decade yet continues to be relatively underappreciated in this day and age. Perhaps that’s because it was followed by three albums that pushed really hard to recreate or expand upon the sound that won millions over; all of which failed miserably. Eventually dropped from their major label contract, Trail of Dead continued to push onwards via their own record label, and that along with some fiercely negative reviews caused them to step backwards and take stock of where they were at musically. They pared down to a four piece and with that came a much more stable, stripped down sound that still rocked pretty hard. The high concepts remain though, and they crafted their new album “Tao of the Dead” to be heard as two separate suites, each recorded in a different key. There may be dividers between the tracks, but the record is intended to be heard in a single sitting, and if you take it as such it serves as a reminder that this band is able to do great things when they’re not trying so damn hard. It may have taken them almost 10 years to do it, but it’s starting to seem like the ghost of perfection that has haunted the band is beginning to fade away and the boys might finally be able to reclaim some of the spotlight that was once lost. Buy it from Amazon

MP3: …And You Will Know Us By the Trail of Dead – Weight of the Sun (Or, the Post-Modern Prometheus)


Cake – Showroom of Compassion (Original Review)
To call Cake “innovative” is to mislabel them. Charming though many of their songs may be, it would appear that longevity is not in their nature. Yet next year they’ll be celebrating their 20th anniversary of being together and allowing John McCrea to constantly sing-speak so many of his lyrics. In that massive amount of time, Cake has only released 6 albums. There was a 7 year gap between their last album “Pressure Chief” and their new one “Showroom of Compassion”, and with the former being such a bland effort on their part, the long wait was probably warranted. They needed the time to remember exactly who they were and why they should continue to make music. Raise your hand if you pretty much forgot that Cake even existed until you heard they had a new record coming out. Spend too much time away, and people will forget about you because there’s so many other musical options available to them. Anyways, “Showroom of Compassion” was like a big welcome back hug from an old friend that you had lost touch with a long time ago. The songs were much stronger than they had been in the last decade, and there were even small signs of sonic progression, with the band incorporating some new instruments and song structures into the fold. On 1996’s “Fashion Nugget”, Cake famously (and ironically) covered Gloria Gaynor’s “I Will Survive”. With “Showroom of Compassion”, it certainly appears that they will continue to do so for a little while longer. Buy it from Amazon


Foo Fighters – Wasting Light (Original Review)
Unlike Cake, Foo Fighers didn’t take a long time away from the spotlight before returning. Still, they did wait four years between their last album “Echoes, Silence, Patience and Grace” and this new one “Wasting Light”, which was the longest gap in the band’s 16 year history. With all their powerhouse singles though, it was never tough to keep Foo Fighters at the front of your brain, and Dave Grohl’s constant presence in playing with other bands (see: Them Crooked Vultures and Queens of the Stone Age, among others) kept you guessing about where he’d turn up next. But the Foo Fighters themselves had been suffering a serious slump as of the last 10 or so years despite their moderately successful singles output. There was the rather plain “One By One”, the double album electric-acoustic missteps of “In Your Honor”, an attempt to create something as classic as Nirvana’s “Unplugged” session via the live acoustic jaunt “Skin & Bones”, and finally a painful attempt at pandering to the lowest common demoninator courtesy of the pathetic “Echoes, Silence, Patience and Grace”. In other words, it was really easy to assume “Wasting Light” would continue the downward trend the band has been on these last few records. Instead, they pulled out all the stops: Butch Vig produced the record and worked with Grohl for the first time since Nirvana’s “Nevermind”, former Nirvana bassist Krist Novoselic guested on one track, and Grohl built an old school recording studio in his garage. The plan worked, and the new record marks an amazing comeback for a band that appeared to be all but lost. When Grohl screams “I never wanna die” on the album’s closing track “Walk”, he sounds like he means it: Foo Fighters haven’t sounded this alive in a long time. Buy it from Amazon

Foo Fighters – Walk


PJ Harvey – Let England Shake (Original Review)
Polly Jean Harvey has always been a tough nut to crack. Her early career played off the “tortured soul” card, and while she was a little more offbeat than her counterparts like Fiona Apple and Courtney Love in the early 90s, the grungy electric guitars and dark lyrics weren’t entirely uncommon. Her evolution since then has been nothing short of fascinating, and perhaps her oddest move came on 2007’s “White Chalk” in which she put down her guitar in favor of an autoharp and piano. The whole thing had a very Victorian Gothic aire to it, only pushed farther courtesy of some increasingly antiquated outfit choices. Her collaboration with John Parish via “A Man A Woman Walked By” was a small return to normalcy for her, though it’s doubtful that the word “normal” has been used much when describing any of her records. The point being that PJ Harvey is often indefinable by nature, consistent only in how she continues to switch things up and challenge herself. “Let England Shake” is another one of those moments, and this time it’s in the form of a concept record detailing the horrors of war. Harvey’s newly expanded instrumental palette serves her well here, and in a way combines some elements from her harsher electric guitar past and her much more delicate and beautiful varied approach of the more present day. In one sense, each new PJ Harvey record is a surprise, because you’re never sure what to expect as she tends to not repeat herself. What wasn’t expected was how carefully and smartly written and composed this album would be, and how after the last few albums of shots that never fully reached the heights of her past glories, here finally is an album that returns her to that force of nature state. She’s come full circle without ever really returning to where she started. Buy it from Amazon

PJ Harvey – Written On The Forehead


tUnE-yArDs – w h o k i l l (Original Review)
Hate is a strong word, but I’m by no means hesitant to use it when referencing the first tUnE-yArDs record “BiRd-BrAiNs”. The project of Merrill Garbus, she recorded that debut album via a crappy built-in laptop microphone and mixed it with some freeware program she downloaded. It sounded exactly like that, and was primarily the reason why I couldn’t stand listening to it. I don’t expect full audio fidelity these days, particularly with the rebirth of lo-fi a couple years back, but there comes a point where the bottom of the barrel gets scraped and that was it for me. Still, for those able to look past the sonic issues with “BiRd-BrAiNs”, it was the introduction of a major new talent, a woman with a powerful voice and smart lyrics who used live shows as her true proving ground. For her second album “w h o k i l l”, Garbus actually made it into a legitimate recording studio and had some backing musicians to help her out. Free and clear of any audio quality issues, I felt that revisiting tUnE-yArDs was the wise thing to do. Turns out it was one of the best decisions I’ve made so far this year. The way the songs on “w h o k i l l” are developed and layered with so many instrumental quirks and matched next to that incredible voice is like a sonic punch to the face. It’s innovative and exciting and catchy and pretty much indescribable genre-wise. Most importantly, it’s everything that debut album was not, or rather, it exposes everything that debut album kept hidden courtesy of a shoddy microphone. Buy it from Amazon

MP3: tUnE-yArDs – Bizness

Pick Your Poison: Friday 7-1-11

Break out your grills, America. It’s 4th of July weekend. Independence Day is that time where we celebrate the United States getting free from the rule of the British. No offense, UK people. We’re all friends now. But this holiday weekend is all about getting together with family and friends, eating some delicious food, and watching some spectacular fireworks shows. If you’re in the US, I hope you have lots of fun. There will be no posting until Tuesday, so hopefully this Friday edition of Pick Your Poison is good enough to tide you over. Highlights include tracks from Abandoned Pools, Damndogs, Handsome Orders, Marlon Rando, The Shivers, Sleeping Bag and The Young Things. In the Soundcloud section, songs from The Features and DoublePlusGood covering Beach House are worth streaming. America!

Abandoned Pools – Marigolds

Bush Doctors – There’s A Ghost in My House (Pimpsouls’ “Get Scarey With Me” Edit)

Cowboy and Indian – Troubled Tracks

Damndogs – Love

Handsome Orders – Violin Case

Hostage – Take You

Kyla La Grange – I Could Be Free

Marlon Rando – Safe & Sound

Night Manager – Pizza Pasta

Paranoid Social Club – Count on Me

Radiation City – The Color of Industry

The Shivers – Love Is In The Air

Sleeping Bag – Slime

Sleepy Kitty – Gimme A Chantz
Sleepy Kitty – Speaking Politely

The Young Things – Talking Too Loud

SOUNDCLOUD

Celestial Shore – Maps

The Cinema – Kill It

DoublePlusGood – 10 Mile Stereo (Beach House cover)

The Features – Rambo

Heights – The Lost And Alone ft. Vigil / The Ghost Inside

New Rose – Sleeping Slides

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