The Flaming Lips - Embryonic (2009)

The newest Flaming Lips album is noisy, catchy, adventurous, and often psychedelic, like most of their stuff but it lacks the warm feeling of previous albums created by Wayne Coyne’s endearing personality. For all intents and purposes, this might be their most “serious” album, in tone and mood. The bass dominates much of these tracks, being very high in the mix. The guitars, drums, and synths add flavor but don’t command as much attention as the chugging bass on songs like “The Sparrow Looks Up at the Machi” and “See the Leaves.” Even the synth based tracks, such as “Evil” and “Gemini Syringes” are dreary and tend to be heavy on the low end. MGMT guests on the noisy “Worm Mountain” but I wouldn’t have known (or cared) if I hadn’t read about it. Karen O (Yeah Yeah Yeahs) appears on several songs. Highlights are: “Convinced of the Hex,” “See the Leaves,” "I Can Be a Frog" and my personal favorite “Watching the Planets.” As engaging as these songs are, though, the album is just too long for anyone but the most devoted fans, and the gloom that engulfs nearly every song will be a turn off for a lot of people. Despite this, musically it is still very very good. The Flaming Lips are such a unique band, they can do whatever they want and not sound contrived and on Embryonic they sound very original, which is an illusion, because if you remove Wayne Coyne’s vocals (see the mostly instrumental tracks) they might sound like any old dream pop or psychedelic band. His voice lacks the relative friendliness I hear on some of their 90s and early 2000s material, contributing to the more serious sound of this album. However, very few things the band tries to do fail. They have a keen sense of what they can pull off, or maybe they can just pull off pretty much anything. They have such a distinct personality that they’re worth hearing if you even remotely like music, but all the things I appreciate about this band do not make me love them. Their music may not always speak to me too directly, but at the very least it is always very adventurous and a joy to hear when my mood demands it which is certainly not every day. LISTEN

Tracklist:

1. Convinced of the Hex 3:56
2. The Sparrow Looks Up at the Machine 4:14
3. Evil 5:38
4. Aquarius Sabotage 2:11
5. See the Leaves 4:24
6. If 2:05
7. Gemini Syringes 3:41
8. Your Bats 2:35
9. Powerless 6:57
10. The Ego's Last Stand 5:40
11. I Can Be a Frog 2:14
12. Sagittarius Silver Announcement 2:59
13. Worm Mountain 5:21
14. Scorpio Sword 2:02
15. The Impulse 4:06
16. Silver Trembling Hands 3:58
17. Virgo Self-Esteem Broadcast 3:45
18. Watching the Planets 5:16

Passion Pit - Manners (2009)

I wouldn't expect to like this as much as I do. Passion Pit are a synth-pop band from Massachussettes. The most striking thing about them are the vocals which sound like Jackson Five. I didn't like this at first, but it was recommended to me by someone I really trust, so I gave it a second shot. After about four listens, I have to admit this is pretty catchy. In fact, it's so catchy, the vocals actually start sounding alright. That airy falsetto complements these really great pop songs, somehow making the hooks really strong. The synths give this a sunny feel, and the drums add energy, making this very much a summer album with really catchy, well-written songs. LISTEN

Tracklist:
1. Make Light 4:56
2. Little Secrets 3:59
3. Moth's Wings 4:16
4. The Reeling 4:48
5. Eyes As Candles 4:08
6. Swimming in the Flood 4:59
7. Folds in Your Hands 3:39
8. To Kingdom Come 4:04
9. Sleepyhead 2:55
10. Let Your Love Grow Tall 3:32
11. Seaweed Song 4:25

LCD Soundsystem - Sound of Silver (2007)

Here's a fantastic album I've been a fan of for a while. I'm more a "Sound of Silver" fan than an LCD Soundsystem fan; this album is more cohesive and instantly gratifying than their debut or their "45:33" project. Highlights include "Get Innocuous," "Someone Great," and "All My Friends," but the entire album is a consistantly strong slice of electro-dance-rock that is both immediately gratifying and deeply emotional. "Get Innocuous" opens the album in style with an beat that shifts subtly over the course of the song but remaining pleasantly catchy without being overly kitsch. It serves as a nice introduction to the album, and is rhythmically engaging, as is much of the album. "Someone Great" is a more somber song, that shows a more overtly emotional side to the band. The song opens with a complex beat before chimes and ringing synths back the vocals. The vocal style appeals more to me than the more assertive declarations on tracks such as "North American Scum" and "Time to Get Away." I think restraint is a good thing here; the song's textures are brilliant and the meaning of the lyrics is less obscured by the way they're delivered. "All My Friends" is not only the best song on the album, but one of my favorites of at least the decade. Over seven minutes the song, which begins with rapid percussion and a simple keyboard tune, gains tension and intensity as it progresses. The song never loses steam, until it's over, and leaves me wishing it would go on a few more minutes. It's the album's most catchy moment, yet it has a strange alluring beauty to it, probably having to do with the way the keyboard invite you in and the great lyrics. The album's lowest point is its last track "New York I Love You..." which is an admittedly fairly truthful, depiction of New York City that nevertheless sounds like an all-too-hip love letter to the city. Musically, it strips away much of the layered electronics and gives us James Murphy and a piano, which just isn't all that interesting. LISTEN

Tracklisting

1. Get Innocuous! (7:11)
2. Time to Get Away (4:11)
3. North American Scum (5:25)
4. Someone Great (6:25)
5. All My Friends (7:37)
6. Us v Them (8:29)
7. Watch the Tapes (3:55)
8. Sound of Silver (7:07)
9. New York, I Love You but You're Bringing Me Down (5:35)

A Couple Things...

Firstly, you may notice that 3 posts on this blog do not have links. Record labels or people claiming to have to copyrights to the music have asked me to remove them. You can hear the music on the label or band's sites most likely if you really want to badly enough.

I guess I should introduce myself to folks who pass through here searching for music. My name is Max, I'm a grad student in NYC for statistics. I love music and love talking about it, and since their are some great blogs out there that have turned me on to a lot of great music, I thought it would be fun to throw my hat into the ring.

My current tastes are quite varied, but I went through many phases over the years from one where I only listened to The Beatles, to an unfortunate "frat-rock/nu metal" phase in junior high, to a pop-punk/emo phase which lasted until college where I discovered that there's a whole world out there that just doesn't get talked about enough. My need to hear more and more works from more and more styles led me to the blogosphere (hate that word) so here I am.

I'm primarily interested in music that borrows from punk and folk styles, but not all that much pure punk and folk. I'm a huge Bob Dylan fan, and my favorite band is Against Me!, but most of what I listen to would probably be called indie rock/pop by folks who are into having consise terms to classify music. I am also interested in stuff like post-punk, post-rock, electronica, and anything that sounds "rural", and to lesser extents, noise rock, heavy metal, and even some more mainstream stuff.

Anyway, thanks for stopping by and hopefully finding some stuff you like. If anyone stops here and likes what they've heard or has any suggestions for me based on what I post, feel free to let me know.

A short list of favorite bands/artists: Against Me!, Alkaline Trio, The National, Sonic Youth, The Decemberists, Bob Dylan, The Gaslight Anthem, The Smiths, Bright Eyes, Modest Mouse, The Felice Brothers, Band of Horses, Sigur Ros, Flogging Molly, and last but not least Green Day (their recent stuff has mostly sucked but their fantastic 2000 album "Warning" is still one of my favorite pop albums.)

David Bazan - Curse Your Branches (2009)

David Bazan, as vocalist for Pedro the Lion always created a mood of intense desolation. It was just something in his voice that did this, lending an even deeper emotional content to already heavy lyrical themes. His voice is deep and earnest, but doesn’t have all that much energy in it. Not that it sounds effortless, just completely devoid of any inherent positivity, which suits him well to melancholic singer/songwriter fare. This is his first solo album, and it is a bit of a downer. That said, it isn’t miserable to listen to. The first track “Hard to Be” uses a backdrop of acoustic guitar and a persistent snare beat supplemented by ringing organ and piano notes. It’s the sonic equivalent of melancholy, but not overt depression. I would liken it to being in a terrible mood during a beautiful day. That’s really how I would sum up much of this album, with a few exceptions. “When We Fell” is actually upbeat, with a chugging bass line and guitars that ring cheerfully. Backing vocals are used on this track to its benefit, breathing much more life into this song than on some of its counterparts. “In Stitches” closes the album on a sorrowful note, stripping the accompanying instruments to slow drumming and organs that churn in a rather dreary way. The album ends with a half-minute of somber piano notes giving the feeling that his disposition hasn’t changed much over the course of the album. “Bless This Mess” is one of the albums best songs, with a refrain far catchier than one might expect Bazan to be capable of. I find it difficult to explain what it is I like about this album. I do like it quite a bit, it’s just one of those cases of the whole being greater than the sum of the parts. I liked Pedro the Lion, but I don’t think any of their albums were quite as cohesive as this. It seems like this has a bit more personality to it. It’s a clearer showcase of his work, as expected, and he’s so believable it’s hard not to at least respect that. LISTEN

1. Hard to Be – 6:23
2. Bless This Mess – 3:57
3. Please Baby, Please – 3:49
4. Curse Your Branches – 3:34
5. Harmless Sparks – 2:30
6. When We Fell – 3:40
7. Lost My Shape – 3:44
8. Bearing Witness – 3:13
9. Heavy Breath – 3:19
10. In Stitches – 4:33

The Pains of Being Pure at Heart - The Pains of Being Pure at Heart (2009)

The Pains of Being Pure at Heart’s self-titled debut came out this February. When I first heard it a few months ago I was impressed with how well it knew the basics of this style and how to use them to their fullest, as well as with their restraint. They turn in some dreamy, poppy songs, rich with hooks, and lacking the sort of endless indulgent textured sound manipulation I’ve come to expect from dream-pop groups these days. This is an album full of very catchy pop songs, that wont leave your head anytime soon. “Young Adult Friction” is one of my favorites, with its wonderful vocals and very catchy refrain of “Don’t check me out, don’t check me ou-ou-ou-out.” “Stay Alive” is another highlight with acoustic guitar under the typical chiming guitar sounds, and a very pretty chorus. Also “Contender” and “A Teenager in Love” are highlights, although the album is without a track that is significantly weaker than these. It’s a lot of pleasant, pretty guitars supplementing some very fun, well sung, songs. LISTEN

1. Contender – 2:40
2. Come Saturday – 3:17
3. Young Adult Friction – 4:07
4. This Love Is Fucking Right! – 3:15
5. The Tenure Itch – 3:45
6. Stay Alive – 4:56
7. Everything with You – 2:59
8. A Teenager in Love – 3:24
9. Hey Paul – 2:03
10. Gentle Sons – 4:32

The Pains of Being Pure at Heart - Higher Than the Stars [EP] (2009)

There have seemingly been millions of these dream-pop charmers releasing music over the past decade of so, seeking and capturing the hearts of legions of indie-lovers without really distinguishing themselves. The Pains of Being Pure at Heart are a different story—they’re just really good. The diversity is a strong suit because it lends a bit more identity to their work and gives incentive to revisit their work. “Higher Than the Stars” features a shimmering guitar melody that, along with the uptempo drum beat, propels the song. It would be a fine introduction to the band’s work for anyone who hasn’t heard them. “103” is a quick, poppy, tune, that keeps the alive the fun spirit of the first track. “Falling Over” features a bouncy, slightly funky, bass line and guitar part. “Twins” uses a fuzzier guitar melody and more breathy vocals than the other tracks. Then there’s a remix of “Higher Than the Stars” which is a lot of fun itself, slowing the tempo of the song and letting the beautiful female vocals and airy male vocals interact, while a subdued electronic beat draws in over the course of the song. Their debut album, released earlier this year, is also fantastic, and this EP shows that the band is good enough to be around for a while. LISTEN

1. Higher Than the Stars (3:49)

2. 103 (2:03)

3. Falling Over (3:11)

4. Twins (3:18)

5. Higher Than the Stars (Saint Ettiene Visits Lord Spank Mix) (6:47)

Muse - The Resistance (2009)

Muse is a band I find myself on the cusp of fandom of. They have a talent for playing a catchy riff and giving it a sense of tension and monumentality. Unfortunately, they also often take it a bit too far into grandiose territory, at which time is becomes quite obvious what they are aiming for. They’ve released four albums, all of which have a few songs I return to semi-regularly, and a handful of throwaways. “The Resistance” is a bit of a let down, even by my standards. Lead single “Uprising” is a very catchy number, with a hell of a riff propelling it but the problems begin after that song. “Resistance” and “Undisclosed Desires” tread into generic pop territory where both vocals and instrumentation are concerned. Despite some promising moments, such as the latter track’s vocal harmonies towards the end of the chorus, these songs are ruined a bit by that. “The United States of Eurasia” is too Queenesque, and blatantly so. At one point during the song they actually sing the lyrics “they go on and on and on,” (heard that before?) without a shred of irony. This is only the first four tracks, but the album continues in this vein as it goes on. The songs all suffer from one of two problems, being too simple-minded (Unnatural Selection, MK Ultra) or else imitating Queen (Guiding Light, I Belong to You), sometimes both within the same song. Then the last three tracks form the “Exogenesis Symphony,” which is just too much in too many ways. I don’t think it’s fair to fault Muse for what they’re trying to do. It just isn’t what I like to hear from them. I can’t say I’m disappointed, since my expectations were not all that high to start with, but I can say this is their worst album yet. I just can’t get past the flaws in order to enjoy this album. I really like a lot of the band’s singles, and some of their earlier album tracks as well, but “The Resistance” doesn’t play to their strengths. LISTEN

1. Uprising – 5:04
2. Resistance – 5:46
3. Undisclosed Desires – 3:55
4. United States of Eurasia (+ Collateral Damage) – 5:47
5. Guiding Light – 4:13
6. Unnatural Selection – 6:54
7. MK Ultra – 4:06
8. I Belong to You (+ Mon coeur s'ouvre a ta voix) – 5:38
9. Exogenesis: Symphony Part 1 (Overture) – 4:18
10. Exogenesis: Symphony Part 2 (Cross-Pollination) – 3:56
11. Exogenesis: Symphony Part 3 (Redemption) – 4:36

The Mae Shi - HLLLYH (2008)

I passed over this album when it came out, not being impressed until watching a clip of them performing their single "Run to Your Grave." The song, which is one of the more tuneful ones here, has a catchy melody sung by what sounds like the entire band. The whole song has an anthemic feel. The electronics that dot the album add color to it and sound like they were lifted from an old video game. The vocals and the use of electronics rescue the album from falling into a sort, it's a very exciting listen. You get the sense they're comfortable trying anything and that they can have a lot of fun with whatever they do, even when singing about holy wars. Much of the album is in the same style of "Run to Your Grave," with the exception of "Kingdom Come" an 11-minute techno remix of all the other songs on the album. Now it takes very close listening to actually hear that this song is borrowing melodies and rhythms from other songs. On first listen it might appear to be an 11-minute electronic medley, and it's a good one that somehow manages not to disrupt the flow of the album. Overall, this is quite a good album. Some songs are a bit stronger than others, but they have a really good sound and the band sounds like they play well together. My favorites are: "Lamb and the Lion," "7xx7," "Run to Your Grave," "I Get (Almost) Everything I Want," and "Divine Harvest." Unfortunately the future of the band is in question as two members left to form "Signals" and the other two plan to continue as The Mae Shi. LISTEN

1. Lamb and the Lion (2:24)
2. Pwnd (2:49)
3. Boys in the Attic (1:25)
4. 7xx7 (2:03)
5. The Melody (2:18)
6. Leech and Locust (2:45)
7. Run to Your Grave (3:53)
8. Kingdom Come (11:37)
9. I Get (Almost) Everything I Want (3:44)
10. Party Politics (2:14)
11. Young Marks (2:06)
12. Book of Numbers (1:56)
13. HLLLYH (4:56)
14. Divine Harvest (2:13)

Have a Nice Life - Deathconsciousness (2008)

Have a Nice Life’s debut album Deathconsciousness was released in 2008 and is a very intense listen. Stylistically, it borrows from a number of touchstones without losing its general feel, and its inaccessibility adds to its mystique. With vocals buried deep in the mix, attention drawing guitars and atmospherics churn about during each song creating a fascinating mood, but not completely dulling pop sensibilities that are there (see “Bloodhail”). Some tracks lean towards this noisy pop sort of territory, while others are completely offbeat, like “Hunter” which sounds like some cult chanting in a town square at noon on an overcast day. So maybe that didn’t help you in any way imagine what the song sounds like, but the sounds conjure very distinct, yet varied, images as the album progresses. There’s something captivating about the drums on “Waiting for Black Metal…”, perhaps the fact that they seem, in theory, so out of place but work so well. Sometimes it’s haunting, other times chaotic, sometimes even intimate. The album has a lot of character and is very diverse, all the while maintaining a sort of melancholy which may be the only thing that justifies naming your album Deathconsciousness. It is difficult to classify, other than with the word “dark” and often it is unclear exactly what is going on, but that adds to the fun, I think. The negative: it’s so long. At 85 minutes, the album continues well past its welcome, and while there are some artists I can listen to for an hour and a half straight, this duo is not one of them. It’s an incredible album, best taken in halves. LISTEN

1. A Quick One Before the Eternal Worm Devours Connecticut (7:53)

2. Bloodhail (5:40)

3. The Big Gloom (8:06)

4. Hunter (9:45)

5. Telephony (4:38)

6. Who Would Leave Their Son Out in the Sun (5:19)

7. There is No Food (4:00)

8. Waiting for Black Metal Records to Come in the Mail (6:17)

9. Holy Fucking Shit: 40,000 (6:29)

10. Deep, Deep (3:50)

11. The Future (5:26)

12. I Don't Love (6:13)

13. Earthmover (11:28)

Bowerbirds - Upper Air (2009)

This folk trio was cited as one of John Darnielle’s (Mountain Goats) favorite bands. Most dominant on their recordings, of which this is their second full length, is the acoustic guitar, which is so high in the mix that every strum commands a lot of attention. Aside from that, wonderful vocal harmonies can be heard throughout, notably on songs like “Teeth,” “Ghost Life,” and “Chimes.” All three members play percussion. This gives them the illusion of intimacy as apparent interconnectedness of musicians is more often an asset than not. I imagine it makes the live show interesting as well. Aside from their drummer, the band consists of a male vocalist who also plays the acoustic guitar and hi-hat cymbal, and a female vocalist ho plays the accordion and a bass drum. Obviously the album is very percussive; see the end of “Silver Clouds” for an example. You can almost tell there’s more than one drummer playing. This could potentially make for some very interesting recordings; with three separate minds playing the same instrument there’s more opportunity for diversity. I don’t know how this could play out, but it’s something to think about. The decision to divide the drums amongst three people must have been made for a reason; I wonder what it is. The accordion is a nice touch as well, lending texture to their already very intricate and dense music. The vocals, especially the male ones, are quite soulful, and the gorgeous acoustic guitar and accordion (sometimes I think I hear keys too) add to this. “Northern Lights” is an especially beautiful song.

1. House Of Diamonds (2:58)
2. Teeth (4:10)
3. Silver Clouds (4:30)
4. Beneath Your Tree (3:40)
5. Ghost Life (5:24)
6. Northern Lights (2:54)
7. Chimes (4:18)
8. Bright Future (4:01)
9. Crooked Lust (4:04)
10. This Day (3:08)

Low - I Could Live in Hope (1994)

Slowcore is a ridiculous term but is a fairly accurate way to characterize Low. They are defined by the slow tempo of their music and it's what makes their music so great, I think. The songs have a lot of room to breathe and reveal themselves as incredibly beautiful and powerfully emotive. For those unfamiliar, the music is sparse, minimalistic, and echoes throughout; everything about it is very slow and the vocals are pretty but a bit haunting. "I Could Live in Hope" is the band's first album. Their most recend album, their eighth, came out in 2007. Throughout their career, they've released consistently engaging material, some of which has proven a bit experimental--their most recent releases, especially. I don't think this is their best album, and it certainly is not my favorite, but it might be the one that best encompasses their sound and the reasons they're talked about the way they are. mediafire

1. Words (5:45)
2. Fear (2:12)
3. Cut (5:43)
4. Slide (3:46)
5. Lazy (5:35)
6. Lullaby (9:46)
7. Sea (1:45)
8. Down (7:24)
9. Drag (5:11)
10. Rope (6:11)
11. Sunshine (2:59)

The XX - The XX (2009)

Seems to reside somewhere in between The Cure and The Killers. Not a very descriptive classification, but they have that cold, airy sort of dissonance both those bands share. Some parts of the album are brooding, but it never reaches the same sort of post-punk melancholy of The Cure. “Heart Skipped a Beat” features a guitar tone borrowed straight from The Cure’s Disintegration. Other parts lean towards a danceable new wave feel but don’t necessarily get there. The album hints at moods without actually being all that clear about what it’s trying to be. It’s a poppy, accessible collection of songs, but it revels in its mid-tempo haze, which accounts for the mood. The vocals, both male and female, express desolation and insecurity, which fit well with the somber music. Faint electronics and percussion provide a backbone that lends texture to the songs but don’t really contribute much energy. Some of the songs drag on a bit and don’t have much going on (“Shelter” and “Infinity”). Overall, this is a confusing album. I am unsure how exactly to feel about it. There are a number of different things it does well, but it feels somewhat restrained. Something holds me back from loving this band, but this is quite a solid debut album from a group of kids younger than myself and significantly more talented. I have over 14,000 songs and this is the first artists whose name begins with X on my itunes. mediafire

1. Intro (2:08)
2. VCR (2:57)
3. Crystalised (3:22)
4. Islands (2:41)
5. Heart Skipped a Beat (4:02)
6. Fantasy (2:38)
7. Shelter (4:30)
8. Basic Space (3:08)
9. Infinity (5:13)
10. Night Time (3:37)
11. Stars (4:23)

Future of the Left - Travels With Myself and Another (2009)

First thing that comes to mind is they really love to be loud. The first track “Arming Eritrea” is a good example; a few seconds in the guitars and bass just go crazy while vocalist Andy Falkous howls about his frustrations towards some guy named “Rick.” It’s really very characteristic of this band. They create a catharsis that’s intense but more fun than threatening. “Chin Music” is a great example of how they often like to use their bass, louder than much else and carrying the melody, another defining characteristic, especially noticeable live. This band is very intense, but besides that, they know how to write some great melodies, which works with the aggression to create something both welcoming and powerful. “The Hope That House Built” is one of the catchiest songs of the year. I couldn’t get it out of my head for months. These guys don’t let aggression dull their creativity, which makes the music that much more meaningful. Also check out their debut album, “Curses.” mediafire

1. Arming Eritrea (2:57)
2. Chin Music (1:56)
3. The Hope That House Built (3:41)
4. Throwing Bricks at Trains (2:36)
5. I Am Civil Service (2:17)
6. Land of My Formers (2:47)
7. You Need Satan More Than He Needs You (2:46)
8. That Damned Fly (2:07)
9. Stand by Your Manatee (2:08)
10. Yin/Post-Yin (2:54)
11. Drink Nike (2:33)
12. Lapsed Catholics (4:15)

The White Stripes - White Blood Cells (2001)

For the longest time I couldn't stand this band. Maybe it was the way they were simultaneously hyped by mainstream media and self-important hipster types. When I went back to this band post-college, starting with their Icky Thump (2007) album, I found something to love about them--Jack White. His guitar playing is simply phenomenal, intricate, yet powerful, and he is quite versatile. His singing voice is suited to the mellower ballads, songs with a country-western flair, balls-to-the-wall rocking. His guitar playing similarly suits the style of the songs. Now, "White Blood Cells" is one of the trio of albums of theirs that might become my favorite. It certainly has my favorite song of theirs, the single "Dead Leaves and the Dirty Ground", with gorgously mellow yet melodic verses and a similarly sublime guitar that churns out a hefty bluesy bridge. For the rest of the album he pulls off ballads and rockers with a similar flair for what makes each song work. Whether if be vocal inflections or that specific riff, he delivers on this album. mediafire

1. Dead Leaves and the Dirty Ground (3:04)
2. Hotel Yorba (2:10)
3. I'm Finding It Harder to Be a Gentleman (2:54 )
4. Fell in Love with a Girl (1:50)
5. Expecting (2:03)
6. Little Room (0:50)
7. The Union Forever (3:26)
8. The Same Boy You've Always Known (3:09)
9. We're Going to Be Friends (2:22)
10. Offend in Every Way (3:06)
11. I Think I Smell a Rat (2:04)
12. Aluminum (2:19)
13. I Can't Wait (3:38)
14. Now Mary (1:47)
15. I Can Learn (3:31)
16. This Protector (2:12)

Mum - Sing Along to Songs You Don't Know (2009)

I do not know very much about this band, having not given their past releases much attention. Based on what I knew, I was hoping for something a bit more electronic. However, this album gets by on its combination of creativity and beauty, and after a couple of listens it began to take shape as something special. Many of its moments are both very beautiful and very creative. There are many gorgeous vocal harmonies, on tracks like "Blow Your Nose" and "If I Were a Fish" which also has a very pretty ukelele (I think), and harp (I think), and lap steel guitar (I think). I don't really know what instruments I'm hearing much of the time. It all sort of meshes together into an enchanting mixture of voice, strings, and what sounds like wind instruments. Because it is often difficult to pinpoint exactly what is going on, the album may seem somewhat challenging, but further listens reveal an intimate recording that tries to be more inviting than threatening. It isn't especially chaotic, just a bit unusual, for the better, I might add. "Prophecies & Reversed Memories" is a fun upbeat track, and it might be the most immediately gripping song, while "The Smell of Today is Sweet..." is somehow both a little bit funky and a little bit serene showing them at their most creative. Once the initial impact wears off, these songs start to take shape as very pretty pop songs. This album makes me want to go back to their older stuff. Highly recommended. mediafire


1. If I Were a Fish (4:16)
2. Sing Along (5:39)
3. Prophecies & Reversed Memories (4:06)
4. A River Don't Stop to Breathe (4:45)
5. The Smell of Today is Sweet Like Breastmilk in the Wind (4:47)
6. Show Me (3:45)
7. Hullabbalabbaluu (3:37)
8. Blow Your Nose (4:07)
9. Kay-Ray-Ku-Ku-Ko-Kex (3:57)
10. The Last Shapes of Never (2:27)
11. Illuminated (4:09)
12. Ladies of the New Country (3:45)

Portishead - Dummy (1994)

Believe the hype if you don't already. The thick, layered ambiance and soulful vocals create a pretty sort of melancholic tone. It really commands my attention; I find myself hanging on every word Beth Gibbons sings. I don't really understand where the "trip-hop" label comes from. Nor do I even know what that means. If this is it, then I should find some more. I guess it has something to do with the bass-heavy, beat-oriented backing music. This is more soothing than abrasive. It seems to border on post-rock a bit with the emphasis on atmosphere over immediate gratification, but this doesn't mean it isn't a rewarding listen. It's just beautiful. The electronics add flourishes that give the songs a bit of flavor. I seem to be listening to a lot of gloomy downtempo music these days. Their recent comeback album "Third" is also great, and notably more upbeat and aggressive. megaupload


1. Mysterons (5:02)
2. Sour Times (4:11)
3. Strangers (3:55)
4. It Could Be Sweet (4:16)
5. Wandering Star (4:51)
6. Numb (3:54)
7. Roads (5:02)
8. Pedestal (3:39)
9. Biscuit (5:01)
10. Glory Box (5:06)

The Cure - Bloodflowers (2000)

"Bloodflowers" is one of my favorite albums from the Cure, although there are a few I haven't heard yet. This is partly because it's one of their most haunting albums. I don't really like their more accessible poppier songs. Partly because "Watching Me Fall" is a hell of a song. But mostly because of the guitar tone which is surprisingly emotive (see "Maybe Someday" for a good example). I especially like the use of acoustic guitars on some tracks. Watch out for some really lame lyrics, but that shouldn't really distract much from the gloom that's so enchanting on this very well produced album. mediafire

1. Out Of This World (6:44)

2. Watching Me Fall (11:14)

3. Where The Birds Always Sing (5:44)

4. Maybe Someday (5:07)

5. The Last Day of Summer (5:36)

6. There is No If... (3:43)

7. The Loudest Song (5:10)

8. 39 (7:19)

9. Bloodflowers (7:28)