The Gaslight Anthem - American Slang (2010)

The Gaslight Anthem surprised me. How could anyone follow such a great record as The 59 Sound? I figured they would either try too hard to rewrite that album, or else try to hard to make something different. Instead they focused on songwriting. The melodies are terrific, vocally and instrumentally. There are some really satisfying guitar melodies, such as on “Stay Lucky.” What made their last two albums especially great was the genuine conviction in Brian Fallon’s voice. He sounds like he means every word with every fiber of his being, and it’s hard not to appreciate that. Also the humble, almost folky, aesthetic made them so likable. The 59 Sound was a warm, friendly album, and so is this new one. It took a few listens to grow on me, and I don’t think it’s quite as gripping their last one but that’s probably just because they were a new, lesser-known band then. Now, with higher expectations comes a greater potential for disappointment, but after spending time with this album, there really isn’t anything I dislike. Sometimes it sounds a lot like Bruce Springsteen, but I can live with that.

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65daysofstatic - We Were Exploding Anyway (2010)

65daysofstatic's new album will probably gain them a whole lot of new fans, but also make longtime fans cringe. This album must have been very anticipated. The band waited three years to deliver this one after taking only three years to give us their first three albums. Clearly a lot has happened over this time since their sound has undergone quite a change. Their first three albums were all relatively constant in style and quality, with frantic guitars and percussion, interspersed with nice ambient passages, and electronics used to give the music a rather unique texture. The music was confusing. It often shifted between gloom and beauty, fast and slow, loud and not so loud, but it was unpredictable for those new to it. This album is similar in style, but heavy on the dance elements. It’s less frantic and not as dark. There is some post-punk grime and some rapid percussive effects, but it’s got an entirely different feel. Their debut, The Fall of Math (2004) had more in common with Nine Inch Nails than, say, Hot Chip. I don’t object strongly to their new sound. I do think what they were doing before is less common, and they did it so well, but this is a fine album.

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The National - High Violet (2010)

High Violet (2010) is too brilliant to have come from this world. Any of the adjectives I would typically use to describe music I love would fail to do this album justice.

As for the requisite comparisons to Boxer (2007), these songs are more layered, make more use of piano, and create an ambiance that's immediately darker and more melancholic. As with all their work, beneath the somber tone I hear hope in Matt Berninger's voice. This isn't just gloom; there's a real sense of life to these songs, kind of like a dark room with light spilling in through a window. The complexity of their music demands multiple listens. The more you immerse yourself in this, the more you'll gain from it.

If, for some reason, you haven't heard this band, please do. The hype machine isn't always wrong.

Discover America - Future Paths (2010)

This is the second album from a guy named Chris Staples under the moniker "Discover America." It's a pretty basic album as far as indie pop goes, dominated by the guitar which is high in the mix and somewhat versatile, shifting between thick distortion ("Devil in the Woods"), gentle strumming ("1979," "Brighton Beach") and sweet chiming melodies ("Force the Proper Wind," "A Lock of Samson's Hair"). Unfortunately the guitars are the source of pretty much all the variation on this album, as the other elements contribute relatively little of value. Staples' voice is mid-range and breathy, often lacking the emotional content one might expect when he's singing over an especially beautiful guitar melody, or else singing about his struggles (as he does often). His guitar is really the source of the record's tone. The disconnect between the vocal performance and the instrumental soundscape is palpable but doesn't totally ruin the album. These songs are generally very catchy, and at its highest points, the album is a pleasant, whistful journey through Staples' thoughts. He seems to have a penchant for country, as evidenced on songs like "1979," which would fit very comfortably alongside whatever's on the country radio charts these days if it weren't for the vocals being decidedly un-country. Many of his guitar melodies feel like they were lifted out of some old country tune as well, which isn't a bad thing. I hope, next time around, he releases something with a bit more variety, performed with more conviction.

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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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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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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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