Click album covers for links. Feel free to share your opinions on these albums and keep in mind that what I write are merely my thoughts and feelings and I do not expect them to be shared.

Thursday, April 29, 2010

The Hold Steady - Heaven is Whenever (2010)


How could anyone not like drunken singalongs? Songs like this are made to be sung by anyone and everyone, preferably in unison, even by those of us with voices that don’t sound good unless you’re too inebriated to really hear it. The Hold Steady are a band made to be played at jukebox bars; their very sound conjures images of wooden, beer-stained bar tops, in the best sense possible. Vocalist Craig Finn sings in an almost slurred drawl. His voice isn’t pretty, but it contributes nicely to the vibe of the album, and isn’t so bad as to be a turn-off. The songs are all in the form of stories, telling about things that have happened without attaching any judgment or imposing any subjective values. The music alternates between thick slabs of distorted guitar, twangy country jams, or a combination of the two, throwing in some piano, rabid drumming, and even a vocal choir for good measure. Most people probably remember The Hold Steady’s massively-hyped 2006 album, Boys and Girls in America, which seemed to be universally-lauded in similar terms to those I’ve used to describe this one. In reality, while both are great albums, this one has a slightly different feel to it. After a few listens, I like this one better. The production on the new album seems a bit sloppier, though not altogether sloppy. “A Slight Discomfort” is a bit of a departure, it’s a slow dirge with animated percussion, strings, and a haunting piano melody. The song progresses towards a monumental climax of strings, chiming keys, and rolling percussions; if this album is bar-rock (which probably isn’t a real thing), then this song is analogous to the hazy walk home at closing time. I don’t think they’ve written a more affecting song than “We Can Get Together,” which is a charming tribute to (as near as I can tell) a dead musician. Stylistically, the band hasn’t changed much over the years; if anything, they are just willing to branch out a bit more these days. This is a wonderful thing as they have kept what makes them an interesting band, and have made a conscious decision not to be complacent but not to completely abandon who they are. Heaven is Whenever is definitely a good move for The Hold Steady. If there’s a low(ish) point, it’s “Hurricane J” which reminds me very much of Fountains of Wayne. The highs are far more numerous than the lows, though, and the overall aesthetic is just unabashedly fun; this is an album that should not be missed unless you’ve already decided you hate the band. The Hold Steady’s greatest asset is the fun factor, but I don’t throw that term around as an excuse for liking a mediocre band. The Hold Steady have absolutely mastered their craft, producing a work of art, and it’s such a friendly, inviting, and absolutely relevant record.


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Broken Social Scene - Forgiveness Rock Record (2010)


Broken Social Scene make really good use of their many band members. All the elements working together nicely, to create some grand soundscapes that never really sound suffocated. Their songwriting skill is undeniable; they really know how to make their songs work with all the elements thrown in. Every guitar note, flourish of strings, vocal harmony, or what have you, is pretty much perfectly placed. That is not to say that Broken Social Scene is among the best bands out there, or that Forgiveness Rock Record is among my favorite new albums (it’s not). It’s just that given the sound and style they’ve chosen, I cannot imagine how a band could make better music within their chosen aesthetic. What makes them especially good is that seemingly every song has some melody or verse that just sticks. Usually these infectious parts are rather subdued, and wont jump out at you, but once you take notice it’s hard to forget them.

I’ve heard that they tend to be rather pretentious during live shows, and that has turned me off to the band somewhat. Their last album, 2005’s self-titled, was outstanding but I almost never listen to it. It’s unfair to judge a band based on hearsay relating to the members’ personalities, but I tend to gravitate towards music I find somehow inviting, either in mood or the emotions conveyed. Broken Social Scene’s music really requires a lot of attention; without a close listen it might just glide by, pleasantly, but without leaving the mark it is capable of leaving. If you do take the time to listen to every song on that record, you’ll find that they really force a lot of beautiful sounds into relatively small spaces and wind up with very catchy, though somewhat challenging songs. They’re challenging because they’re often absolutely infectious, but rarely appear so on the first listen. Give it some time. I was especially drawn to Emily Haines’ (from Metric) vocals on tracks like “All to All” and “Sentimental X’s.” These songs feel like short breaks in the album where the pacing is slowed down, and as such, they stand out. Haines commands so much attention and she has a beautiful voice. Broken Social Scene has always been strong vocally, and that trend continues here. The band members inject a lot of urgency into their voices, which I like. There are so many gems here, like the frantic sing-along verses of “Chase Scene,” the upbeat, poppy “Texaco Bitches,” the mellow, soothing “Highway Slipper Jam” (complete with whistling and a steel guitar), and my personal favorite, the slow, hypnotic “Sweetest Kill.” Broken Social Scene do indie rock the right way. Their music is rich in emotion, melody, and is competently arranged. Very few bands sound like them, and their back catalog, as well as this new record, should not be missed.

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The Radio Dept. - Clinging to a Scheme (2010)


2006’s Pet Grief was a good album, but in the subsequent years I all but forgot about this band. When this album leaked a couple months ago I was initially excited but in lieu of some other much anticipated releases, I forgot about it. Clinging to a Scheme is a more upbeat album than its predecessor, which is a good thing—the songs feel grab you more easily. This may be due to the use of an actual drummer, as opposed to a drum machine. The drumming is quite intricate at times, giving some songs a nice rhythmic feel. Mostly, the different sound is due to the synths creating a brighter atmosphere. The guitars also feel a bit more pronounced, making this feel more like a rock album. Vocals are my least favorite thing about the band. The songs are sung in a monotone, somewhat hushed voice that somehow sounds very obviously digitally processed though not especially distorted. This gives the album, as it did their last one, a somewhat mechanical feel—something that worked better on the more melancholic Pet Grief. They use more immediately tuneful melodies which are nice, and also throw a few curveballs like spoken-word passages on “Never Follow Suit.” If there’s anything worth complaining about, it’s the fact that some of the songs may come across as a bit too simple. These really try to be pop songs, and are quite melodic in places, but the vocals hold this album back from being as good as I think it could be. I think there will be better albums that make use of synth-heavy dreamy pop music, in the near future.


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Wednesday, April 21, 2010

John Grant - Queen of Denmark (2010)


John Grant scores major points for recording this album with folk-rock band Midlake providing the backup. Midlake’s recent album, The Courage of Others, showed they’re masters of austere folk balladry. That album was absolutely stunning, and they do good work here with gentle piano and guitars as the most common elements. Strings and flutes pop up now and then to add some color, but this album is really intended to allow Grant to showcase his voice. He spent the past decade as frontman of The Czars, a decent indie rock band that was a bit on the mellow sound. He sings in a high baritone, or low tenor, and his voice is rich and soulful. If this album has any flaw, it’s that it sometimes sounds a bit too lounge-rock. “Chicken Bones” is an example of this, as is “Where Dreams Go to Die.” Despite the latter’s glorious chorus, he might as well be leaning on a grand piano with a glass of scotch as he sings. There are also times he sounds a bit too dramatic. A song like “Outer Space” sounds like it was pulled from the climax of a Disney adaptation of some fairytale, but the song has some nice flute playing. There are also a couple of dull, sleepy ballads towards the end of the album. “Silver Platter Club” has a bouncy music hall piano melody, and despite sounding too much like Ringo Starr’s solo work, it’s a fun song. “JC Hates Faggots” is an odd song with gritty guitars in the verses but there is something entertaining about hearing him sing some very offensive words seemingly without irony. “Queen of Denmark” features some of his best lyrics. There is something entertaining about hearing him sing, sounding quite serious, about having urinated in someone’s coffee. This album is at its best when Grant grabs hold of a melody and lets loose. He has decent pipes, so why not show them off? Given its style, it really shouldn’t be as enjoyable as it is. Far from life changing, John Grant nonetheless is an example of how a guy can sing from his heart and have it mean something. The Midlake collaboration helps too.

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Broken Bells - Broken Bells (2010)


Broken Bells is a terrific pairing of two artists who complement one another perfectly. Jim Mercer is taking a break from The Shins to focus on this project, and while the aesthetic is new for him, his greatest asset is present here—his voice. He sings in a fragile tenor that is full of genuine emotion, making Shins songs like “New Slang” and “Gone for Good” among the most beautiful songs of the generation. Dangermouse is a musician/producer I know very little about but here he creates sonic backdrops that perfectly complement Mercer’s vocals. The music tends to be understated, initially seeming moderately depressive, but reveals its subtle beauty over repeated listens. It contributes so much to the mood of the album, and lends a great deal to the emotional content of the songs. Neither musician’s contributions would resonate in quite the same way without the other’s. Mercer’s typical acoustic strumming is predominant, but unlike The Shins’ cheerful, welcoming sound, it given Broken Bells a crisp, cool tone. Many of these songs have an airy, majestic tone, which makes the album sound a bit grander than any of The Shins’ work. The album’s first song, “The High Road,” is a gorgeous midtempo song that reaches absolutely sublime heights as it progresses into a refrain of “let loss be your guide.” “Citizen” is an excellent example of strings and Mercer’s acoustic guitar creating the perfect backdrop for the duo’s (I think I hear other voices as well) soulful singing. “The Ghost Inside” is an interesting song; musically it has one of the strongest melodies, a really nice percussive rhythm, and handclaps that feel absolutely necessary, but it has some unfortunate falsetto harmonies before a gorgeous (non-falsetto) last verse. The album ends with one of its better songs, “The Mall & Misery,” a more upbeat song with a glorious synth motif and catchy vocal harmonies. Ultimately, it is hard to listen to most of Broken Bells without hearing pervasive sadness. Despite this melancholic tone, I can’t hear music as beautiful, and as well-constructed as these songs and not feel good. Classifying this album into a style is probably unnecessary because there is no genre it fits into perfectly. It should suffice to say it’s hard to find more affecting music, or two musicians who accentuate the others’ strengths so well.


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Monday, April 19, 2010

Crystal Castles - Crystal Castles (2010)


Their second album is self-titled just like the first and that’s quite fitting since this is not a very cohesive album. Listening to it, I really couldn’t find anything to latch onto. The dance influences and layered synths are a constant throughout the album, but they try their hand at several different styles, including mellow, otherworldly ballads (“Ethereal,” “Violent Dreams”) that are a bit boring because they lack any discernible emotion. There are some classic dance-pop tunes (“Celestica,” “Year of Silence,” “Pap Smear”), that also sound as though the artists really aren’t very passionate about their craft. Worst are when try to play dance-punk, sort of like early Yeah Yeah Yeahs (think pre-Fever to Tell EPs) meets disco. These songs are sloppy (not in a good way), and feel underdeveloped. Thankfully, they only try this on “Doe Deer” and “Baptism” which is what Karen O might sound like if she were being taken hostage. I do applaud Crystal Castles for their adventurous spirit, and willingness to try different things, but it’s a shame they didn’t pick a direction and try to perfect it. This album sounds like a bunch of random parts haphazardly assembled, and it really feels empty. Their music doesn’t conjure any images in my mind, nor does it cause any emotional reaction whatsoever. In short, it had no effect on me, and for that reason I didn’t like it.


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Sunday, April 18, 2010

Matt Pond PA - The Dark Leaves (2010)


Matt Pond PA has fashioned a decade-long (and counting) career out of giving us things we’ve heard so many times before. The Dark Leaves, is by no means a bad album. It’s pleasantly poppy, has a warm, approachable feel to it, is often rather tuneful, and the music and vocals lend it enough emotional depth for it to feel somewhat relevant. All in all, this makes for good pop music. I rather like Pond’s vocals, in fact. The only real fault is that this album feels somewhat unfulfilling. It delivers on the one front of being musically competent and having a nice atmosphere to it, but it lacks any real defining characteristic. There isn’t one aspect of the music that sets it apart or above the rest of the pack. There also isn’t any one aspect that is annoying or feels out of place. While there really aren’t many highs and lows, “Remains” and “The Dark Leaves Theme” are especially good songs, and this album wound up being far more enjoyable than I expected.


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Wednesday, April 14, 2010

Dr. Dog - Shame, Shame (2010)


Shame, Shame is a delightful album of sixties-flavored pop that has a very friendly quality to it. If this band is concerned primarily with writing fun music, they’ve succeeded entirely. The vocals have a nice spirited delivery, at times featuring very nice harmonies. My concern is that their style may give the illusion of a lack of personality, and thus limit the staying power of this album, but for now this should serve as a reminder that pop music is quite enjoyable when it is concerned with delivering catchy melodies.


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Across Tundras - Old World Wanderer (2010)


This is sludgy post-metal. The songs are long and progress slowly, so this feels very post-rock in that sense. The guitars create a murky atmosphere, but I especially like the solos.

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Thursday, April 8, 2010

Here We Go Magic - Pigeons (2010)


This was released quite soon after their self-titled debut which was a very pretty psychedelic-pop album. It had a sunny, cheerful feel to it, while keeping the sound relatively fresh and interesting throughout. 15 months later, they’ll have released a second album, and it’s immediately clear they wanted to accentuate their pop sensibilities. They have done a fine job, writing songs that are genuinely catchy and tuneful, but not sacrificing that cheery psychedelic glaze that really defines the band. This new album is more immediately accessible than their debut. Their aesthetic is beautiful, and here they apply it to strong pop songwriting. The vocals tend to be in an almost-falsetto style, but aren’t so high in the mix as to dominate the songs. Instead, the textures created by the instruments is the real attraction. Some tracks, like “Hibernation” and “Old World United” are built around bouncy bass lines, while others use guitars and synths to create the mood. There are some slower tracks, like “Father Figure” (which is mislabeled in the mp3s posted) and “Land of Feeling,” which work just as well as the upbeat ones. With songs that are more immediately gripping than on their debut, I expect this album to stand out a bit more in the long run, but as it is, they have written two very strong albums in less than two years.


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Saturday, April 3, 2010

The Tallest Man on Earth - The Wild Hunt (2010)


It’s exciting to have a follow-up to his debut, Shallow Grave (2008) coming out next week. The Wild Hunt is certainly a worthy successor to that wonderful album. Shallow Grave showcased some really nice, intricate guitar playing, that was interesting enough to carry the album. It spoke volumes about his talent that he was able to make interesting music with just his voice, a guitar, and a banjo. In 2010, he’s doing the same thing. The most striking difference is that he seems to be actually trying to sing. His voice has a shrill quality to it, and on his debut he embraced it but here he sometimes tries to strain a bit, as if trying to hit notes out of his range. This doesn’t exactly sound bad; and, though it just took some getting used to, there is such genuine emotion in his voice when he does this, it is a joy to hear. The guitar playing is still beautiful, always suiting the music so well. He still delivers great vocal hooks to keep the music interesting (see “King of Spain” for the best example). On the last track of the album, “Kids on the Run,” the guitars are replaced with a piano for a surprisingly disarming ballad. The Bob Dylan comparisons I keep reading are, at least, somewhat valid, since both artists had ways of communicating very common feelings in creative and uncommon ways, through their lyrics and the general emotion their presentation lent the songs. The Tallest Man on Earth is an artist to keep an eye on, for sure. If this is worse than Shallow Grave, it’s only so by a little bit.


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Thursday, April 1, 2010

Red Sparowes - The Fear Is Excruciating, But Therein Lies The Answer (2010)


So many post-rock bands are content to just run with a pretty melody for 8 minutes without it really going anywhere, or else write songs that go from point A to point B through seemingly arbitrary melody changes. Red Sparowes, who spell their name this way on purpose, are about to release their third album, and first since 2006. I can say, without hesitation, that this is their strongest album so far. In more ways than one the band has cut out the fat, so to speak, producing a leaner, more substantial set of songs than before. The song lengths are shorter this time around averaging just under six minutes (not counting the short intro), while before they averaged almost nine minutes. They use the time better too. Never does it feel as though a song is stretched out just for the sake of it. “The Sixth Extinction Crept Up” from their debut, At the Soundless Dawn (2005) is a whopping 19 minutes, but it takes over five minutes to get give us anything more than a singular repeating guitar note then after the 11½ minute mark it suddenly gives way to a minute or so of silence and then random echoes for the duration. If you need to skip around to hear a select six minutes of a 15+ minutes track, it isn’t worth it, beautiful as the meat of the songs may be. This isn’t a problem anymore. New track, “A Hail of Bombs” is a good showcase for this new approach. The guitars immediately set the mood with a pleasant, surprisingly intricate, melody that shifts subtly throughout the four minutes of the song. Not a note is wasted just lingering on an isolated stretch of pretty sounds. The very first seconds and the final few seem as relevant to the songs as the very middle. These songs immediately get down to business and end before they’ve worn out their welcome. In terms of actual sounds, they creating a tense, moody atmosphere, but also deliver plenty of gorgeous ringing guitars with a lot of haziness and reverb. This atmosphere is more tense and ominous sounding rather than being pretty in a shiny sort of way, but it isn’t overly aggressive or downright depressing. Another bonus–a rather superficial one–is that the unnecessarily long song titles from past albums are no more. Instead of titles like “And by Our Own Hand Did Every Last Bird Lie Silent in Their Puddles, The Air Barren of Song as the Clouds Drifted Away. For Killing Their Greatest Enemy, The Locusts Noisily Thanked Us and Turned Their Jaws Toward Our Crops, Swallowing Our Greed Whole,” we have “As Each End Looms and Subsides” on the new album. It’s a bit easier to take the band seriously now, with this less annoying surface quality and a more streamlined sound. They do what they do really well, and it’s great to hear them step it up. Aside from being Red Sparowes’ best album, it’s also one of the best of the genre in recent memory.

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