The National/Baths/ Thundercat

Trouble Will Find Me

Matt Berninger is a rarity in indie rock and revival music today. Why? He’s one of the few indie singers in the industry who sees value in a lower register, and when I think of The National, I think of a melancholy baritone croon. The group has been critical darlings since their record Alligator, and for good reason; the lyrics are sharp, the instrumentals are haunting and intricate, and the groups sound is as unique as Berninger’s use of the term “white girls” in multiple tracks. Trouble Will Find Me is the follow-up to universally acclaimed High Violet, so I was eager to see if it continues the trend of greatness that hasn’t ceased yet.

The intimacy of this record is immediately recognizable. The band feels much closer to the listener than on previous releases, and the tracks are much slower moving and contemplative than previous releases. It still feels like The National, but there is definitely an audible change in direction, and that does not diminish the sound in the least. The tone of the record is incredibly broad, and often channels the signature sounds of special guests Sufjan Stevens, Annie Clark of St. Vincent, and Richard Reed Parry of Arcade Fire. Amidst all these other flavors, however, none of the groups unique tones of melancholy Americana-tinged writing are lost.

Overall, the record is as refreshing as the last National release, and the guest appearances sincerely improve the experience without overshadowing the real stars of the show. The band has shown that they know how to write quality indie rock time and time again, and this record is no exception. Here’s my pick, “I Need My Girl”.

Obsidian

Glitch/IDM musician Baths first record Cerulean was an excellent, grooving release that won universal praise for its dreamy soundscapes and grounded, often glitchy beats with fairly sparse but wonderful vocal accompaniment. Recent release Obsidian is a radical change in both production and overall feel from the light-hearted airiness of the debut.

Obsidian as a whole is, you guessed it, dark. Weisenfields singer-songwriting takes much more of a forefront than in Cerulean, in which it was barely existent. The arrangements, most of which have abandoned bright synths for a few brooding piano lines, remind me of a darker and more reserved Passion Pit. There are still elements of broad atmospheres and glitching beats, but they are by far more of an accompaniment for the vocal melodies, harmonies, and lyrics that are obviously the focus.

Luckily, The vocals are pleasant and the intertwining harmonies are expertly arranged. The lyrical content is sexual, dark, and gritty, drawing a huge juxtaposition to the still reasonably bright instrumentals and vocal melodies (the most prominent examples of this being the track “No Eyes”). Despite the lyrical content, the songwriting is filled with more pop sensibilities and structure, and this departure from a more scattered writing found in Cerulean is not without its charm.

Overall, I thoroughly enjoyed the record. Baths has certainly stepped out of his comfort zone, and this new direction, though jarring, worked in his favor. Here’s my pick, Ironworks.

Apocalypse

I saw Thundercat and his label owner/close friend Flying Lotus fairly recently, where I witnessed the unveiling of a few of the tracks on this record.     All that was revealed was excellent, and I couldn’t help but wonder of the collected package would be as fulfilling. The good news is in.

As  follow up to his first record Golden Age of Apocalypse, the record continues to deliver what Thundercat has claimed as his sound; that is, dreamy jazz fusion with impressive vocals and virtuoso bass lines that could melt the face off of any metal-head. The last record was excellent as well, but Apocalypse is superior in overall song structure, production, and general flow. Producer Flying Lotus’ signature spacey, astral touches can be heard on every track, but the really impressive feat is the fact that these touches overshadow what can only be expert songwriting and arranging by Thundercat.

If you like electronica, an active bass line, and good R&B/Funk, Apocalypse by Thundercat is the new release for you. Check out my favorite track “Tron Song”, which is about a cat.

Daughters/Fitz And The Tantrums/ Vampire Weekend/Paft Dunk

We’re back with some exciting new releases! Fitz and The Tantrums make their sophomore release with More Than Just a Dream, Daughter releases a full LP, and Vampire Weekend releases their eagerly anticipated third record. Also, Daft Punk’s equally anticipated Random Access Memories leaked early and was immediately released, so I’ve added it to the mix!

If You Leave

Elena Tonra formed the band Daughter from her folky solo act, adding creative input of guitarist Igor Haefeli and drummer Remi Aguilella. Signed to independent label 4AD (home of The National, Deerhunter, and Bon Iver), Daughter fits right in with folky, reverby guitar and vocal parts combined with both electric and acoustic instrumentation.  After releasing 3 EPs, the group finally released their first full-length on April 30th.

The band’s sound can most accurately be described as a workable mix between Florence + The Machine, The xx, and perhaps a bit of Ingrid Michaelson. Tonra has a lovely voice, and it’s a bit more bare and revealed in the EPs where her guitar playing is reminiscent of the indie folk sensibilities of Mumford and Sons. On the record, however, the more active (though still sparse) drum beats and echoing secondary guitar parts work to make a more full and united sound; Daughter is a band, not two musicians backing a songwriter.

The entire record has a very fluid feel, but many tracks are very similar. Tonra still takes prominence in her singing and guitar playing, but Aguillela and Haefeli create the world around her with ambient guitar work and thoughtful rhythms. The sound overall is much larger than any previous recordings, and those who fell in love with the more intimate nature of earlier works may feel a bit disappointed.

Overall, I enjoyed my listen through, but I can’t shake the feeling that this is one of those records that I forget about in favor of more articulate and noticeable acts within the same spectrum. Here’s my favorite track, “Smother”.

More Than Just a Dream

These guys blew me away with their debut release Pickin’ Up The Pieces. Their masterful blend of motown soul and modern indie pop was unheard at the time, and every song on the record is so damn catchy. I was so excited for this upcoming record, I picked up the single, “Out of My League” on Record Store Day. It’s a great single, albeit different, and I was eager to see if the rest of the record lived up to the greatness of of the debut.

I’m pretty conflicted, honestly. The album starts out with the single, which takes the bands’ original sound and augments its more intimate nature into that of a stadium sound. The whole record just sounds bigger and more anthemic. Unfortunately, this departure from the smaller, more nuanced sound only works on a few tracks on the record, and the others feel cheapened and more pandering to recent trends of popular indie pop.

The record also shows a new embrace of modern synth and electronic sounds. There are audible bass drops, soaring synth runs, and trance like snare/cymbal builds and swells reminiscent of modern EDM and dance tunes. This entwines with the anthemic new tone of the record, and it works with certain tracks better than others. The track “Fool’s Gold” is one example of an excellent blend between this new direction with the classic sound the band created. By far though, my favorite track is “6AM”. It has the original sound of male/female vocals and horn work that I love, but also incorporates an effected bass and a plethora of electronic synths and bleep-boop counter melodies. Unfortunately, my love for this track is not surpassed by any other on the record, and the remaining tracks just don’t live up to its energy.

Overall, the record is a mixed bag. I applaud the group for trying this new, bigger sound, but the results were not as glorious as I expected. My feelings for the record as a whole could be represented as a hill: a slow start, a peak at ‘6AM’, and a descent down by the final track. I do think if you like the original record, you should definitely give it a listen; they’ve earned that much.Who knows, maybe our opinions may differ (gasp)! Anyway, here’s my personal highlight track, “6AM”.

Modern Vampires of the City

I remember  listening to this groups’ debut in high school and thinking “When is this record going to slow down? When is there going to be a track that doesn’t match the others? When is the moment going to come where I hear my least favorite track and know it immediately?” That moment never came. Four years have passed, and I still haven’t figured out why Vampire Weekends’ first LP is so perfect in its writing, musicianship, and pure unadulturated catchiness. The sophomore effort, Contra, was great, but it was in no way equal to the self titled masterpiece that arguably changed the face of indie pop. After three and a half years of touring and writing, Vampire Weekend have released  the third record, and just in time for summer.

The record is incredible. Ezra and the gang managed to apply some incredibly refreshing stylistic changes (gospel choir arrangements & chord progressions) while still bringing their signature afro-cuban beats, eccentric lyrics, and mind-numbingly infectious vocal and instrumental melodies to the table. I’m not going prattle on about how much I love the album. If you like Vampire Weekend, or good indie pop, go listen. Right. Now.

Here’s my 2 (two) picks, “Obvious Bicycle” and “Everlasting Arms”, performed live.

Random Access Memories

There are few albums that have seen such hype and polarizing opinions in recent memory than this record. Daft Punk is the reason I and many of my peers got into electronic music, and my first real experience with the genre was watching the “One More Time” music video on Cartoon Networks’ Toonami block when I was 8. I can honestly say that their sophomore record Discovery is and always will be one of my favorite records of all time, and their album Alive 2007  is among my favorite live records. I have been excited beyond belief for this record since it was announced, and I downloaded at least five fake versions of “Get Lucky” before waiting for its official release. So when the record leaked, and all hell broke loose, and iTunes streamed/released it, and everyone was climbing and shouting their opinions of it from the top of their Twitter accounts, I just waited. I listened to it once and let it sink in. Then I downloaded it and realized I listened to it backwards the first time and almost wept. Then I listened to it again. And now, a week later, I have shaped my opinion of the record as it stands now.

First of all, for those of you looking for a purist electronica album, you won’t find it here. I’m baffled that so many ‘huge daft punk fans’ 1)expected an album with collaborations from Pharrell and NILE RODGERS to have a bass drop on every song and 2) expected a duo as innovative as Bangalter and de Homem-Christo to do the same thing twice. This record has what makes Daft Punk who they are, but this is overall a funky, genre-bending record. There are bits of rock, r&b, disco, electronica, house, funk, alternative, hip hop; almost any style you can imagine has its place.

It’s a good record. I like it. It’s slow at first, but once it picks up, it doesn’t stop. Tracks like “Touch”, “Get Lucky”, “Doing it Right” and “Lose Yourself To Dance” capture the essence of what the duo was trying to do (in my mind, at least) with this record; commemorate the disco genre and its contributions to the shape of electronica while also bring new sounds to the magic they’ve already created. Songs like “Within” and “Instant Crush”(this one was a big downer) just didn’t seem to channel that message or entertain me to the same extent.  These first few tracks are what I feel separate it from the love I have for their earlier work.

I really have no clue if this is my final answer to the question “What did you think of the new Daft Punk?”. I may look back at this review years from now and just shake my head in disgust for not appreciating some tracks while lauding less worthy ones. All I know is, I’m going to keep playing the record, and I suggest you give it a chance and let it breathe in the same way I will. Here’s my pick, “Lose Yourself To Dance”.

Review Update

Okay, change of plans. Every two weeks, I will post multiple reviews on the records being released in that time period.. I realize I’m doing this blogging thing wrong, and consistency is the most important aspect of these things. Thank you all who have put up with me and listened to the things I have to say about music, I really appreciate it. But enough of the sob story, here’s the reviews this week!

Wolf

Whatever your opinion of Tyler may be, you have to admit he likes what he does. Tyler and his crew Odd Future rose to prominence after the single from his last record Yonkers rose to the top of the charts, and from that spotlight other members of his OF gained more solid fan-bases. The most interesting thing about Tyler is his unique production style; after a few seconds listening to a beat, I can tell if he made it. He explores lots of almost corny midi-horn tones and dissonant piano riffs, which somehow work wonderfully with overstated 808 drums and simple grooves. Like many late records, however, Wolf shows that even some of the more interesting elements of an artist cannot be exploited for too long before they become dry. Tyler and Odd Future in general are known for using dark, violent, and disturbing lyrics on their records, and Wolf is no exception. ‘Colossus is about Tyler’s struggle with fame and his problem with some of the more obsessed members of his fanbase, and ‘IFHY is a dark exploration of emotionally abusive relationships. The songs hold my interest, but only just barely, and there are definitely duds on the album that drag on for me. However, tracks like ’48’, ‘Slater (featuring the wonderful Frank Ocean), and ‘Rusty all show off Tyler’s production and lyrical strengths and remind you why he is where he is. I like Tyler, but this record really was underwhelming for me and defines why I tend to favor his fellow OF members Earl Sweatshirt and Frank Ocean over him. His explanation of emotions on this record is heartfelt, but if you’re familiar with his material, he’s done it all before. Overall, there’s a few good tracks on the record, but the OF train is starting slow down for me. Here’s my favorite track, ‘Rusty’.

Shaking The Habitual

The Knife are an interesting group. Made up of Swedish Siblings Karen Dreijer Andersson and Olaf Dreijer, the electronic duo have done a lot of exploring with their sound, and their most recent record delves deeply into experimental territory. Their last record Silent Shout won universal acclaim for its experimental tendencies and mesmerizing soundscapes, and the new record delves more into the former. Now, for those unfamiliar with the experimental genre (which is often used as a blanket turn for many types of music), this is not one or two interesting instruments being utilized within a tradition song-writing setting. This is a genre based upon creating the most original and eclectic sounds possible with the equipment available . This is not an easy listening genre, but for those willing to search for substance within it, it can be incredibly rewarding. While much of the record explores this type of sound, a few tracks do stand close to the the original dark electro sound that I fell in love with. Tracks like ‘Ready To Lose and ‘Wrap Your Arms Around Me still fit the context of the record, but are accessible enough to be enjoyed by those interested in the dark electronica the group excels in. To conclude, though I don’t have much experience with this type of experimental music, I did enjoy my listen through, and those tracks mentioned above were wonderfully crafted towards outside audiences. If you’re a fan of The Knife, give it a spin. Here’s my track pick, ‘Ready to Lose.

Overgrown

In early 2011, James Blake released his self titled record. It received rave reviews for his minimalistic approach and a warm, dark production style, and his lyrics were branded as heartbroken genius. I listened to the record, and honestly I wasn’t impressed. I felt that the record dragged, and I had heard several other artists  similar in style (see SBTRKT) that simply do it better. I heard about Overgrown being released, and I figured I would give James here a second chance.

The record definitely picks up where his self titled record left off. It still has a somewhat trodding sound on some of the tracks, but James’ voice has taken on a somewhat different persona. Instead of the mopey quality I heard on the first record, I now hear a very R&B influenced style that really comes through on tracks like ‘Retrograde. This quality definitely livens up the record, but it doesn’t save it from the qualities that turned me off from the original release. However, there are a few other tracks, namely ‘Digital Lion (produced with world renown sound wizard Brian Eno), that really breathe life into a record and make it a more enjoyable listen. Also, for some reason I really like the final track ‘Our Love Comes Back, though it doesn’t stray much at all from the sound that I’ve been berating for the last paragraph.

Overall, if you liked his debut, James Blake’s Overgrown will undoubtedly be an enjoyable listen. If you’re like me, you’ll find a few stand-out tracks, but nothing revolutionary. Here’s my favorite track, ‘Retrograde.

Indicud

Kid Cudi had a huge impact on my own musical taste in high school. He is one of several hip hop artists that actually brought me into the world of hip-hop, and his first record Man On The Moon still holds a special place in my heart. However, his sophomore effort left much to be desired, and only a few tracks really stuck for me. I was excited to see what would be done on this record, considering Cudi’s recent departure from Kanye’s label G.O.O.D Music and his decision to self produce. Unfortunately, the end result breaks my heart.

Each track drags, and the beats are not very well produced at all. Sometimes Cudi’s voice is so muddled with the instrumentals, I can’t even hear him. Occasionally, there’ll be a rap verse, immediately followed by a vocal silence with only the beat repeating. The songs are structured almost sporadically, and some tasty verses by guests A$AP Rocky, Kendrick Lamar, and Wu-Tang member RZA can’t save the record from what can only be described as sloppy production and songwriting.

There are one or two upsides; Cudi has improved as a singer, and this record gives him some experience in production that he had not had before. Hopefully his next release allows him to learn from his mistakes, and perhaps take some tips from his excellent old producers Plain Pat and Emile. Overall, unless you are a diehard Cudi fan, you can skip this one. Here’s his track with Kendrick, ‘Solo Dolo Pt. 2‘.

Bankrupt!

I first got into Phoenix about two summers ago when they released their hit record Wolfgang Amadaeus Phoenix. After that, I was hooked, and eagerly devoured their entire discography. Contrary to popular belief, the group is pretty prolific for an indie/pop band, releasing three albums before they made the charts. For their fifth release Bankrupt!, they keep doing what worked so well with Amadaeus; create catchy upbeat pop tunes with some heavy synth thrown in for good measure.

The first single, ‘Entertainment’, picks up right where Amadaeus left off: it provides bright, danceable beats and warm, electronic lows with rhythmic layered highs from guitar, synth, and Thomas Mars’ recognizable croon. However, the deeper I delved into the record, the more I realized how prevailant the synthy textures were compared to the last record. This electronic core differs considerably from the mostly guitar-driven tunes of Amadaeus, giving the album a slightly different feel. Different doesn’t mean bad; each track definitely feels like Phoenix and is just as infectious as their other material.

For whatever reason, however,  I was not as taken by the album as a whole in the same way I was with the previous outing. There isn’t too much variation in tempo or tone, which unfortunately makes every song very similar. I was struck by how similar the record is structured compared to its predecessor, in that they both have a longer song smack dab in the middle that separates two parts. The difference between these 6+ minute songs may be the defining factor in my experience;’Love Like A Sunset’ off of Amadaeus is just a better track than this record’s self titled track, which spans 7 minutes and is mostly just a yawn-worthy synthesized anecdote. It doesn’t contribute to the album much at all and  takes away from some of the better tracks on the record that follow. ‘Love Like A Sunset brought the previous record together perfectly, and the key component it held for the album experience is absent in Bankrupt!.

Overall, I do enjoy the record. I think I may be being unrealistic by expecting another record like the last one, but the shadow it casts is there whether I mention it or not. Though not as catchy or grabbing as Amadeus, Bankrupt! is still a solid entry in the Phoenix discography. Here’s my favorite track, ‘SOS in Bel Air’.

There you have it folks- the last couple weeks most prominent releases. I’ll be back next week for both Fitz and The Tantrums, Daughters and Vampire Weekend!

Double Review: The Comeback Kids/Comedown Machine

This week, I listened to two artists that have returned to this place we call the music industry after at least a five year absence: David Bowie and Justin Timberlake. I thought it’d be fun to offer my thoughts on these wildly different artists whose only similarity is the proximity in which they released long overdue new material. Also, The Strokes! Here We Go!

The Next Day

David Bowie has been around the block a few times. Throughout the years, he’s been an actor even when there weren’t any cameras in front of him (there usually were); his various personas always reflected the musical styles he flawlessly captured in his records. In The Next Day, it feels like all these personas were blended into one Bowie to Rule Them All (please humor me). Elements of glam guitar and stadium rock and roll permeate the album, but he still retains some of  the sentimentality and piano-driven songwriting found in records like Heroes.

Bowie takes full advantage of the recording effects of the digital age that were previously unavailable to him  to more effectively implicate his smaller idiosyncrasies in arranging and orchestration, and the record sounds beautiful production-wise. His vocal stylings and memorable lyrics are as present as ever, and the records overall theme of feeling left behind as the world continues to turn is especially heard in tracks like “Where Are We Now?”. A gorgeous and mounting ballad, the instrumental tracks sound as reflective and hauntingly beautiful as the lyrics and delicate vocals. On the other side of the coin is a quirky, fast-paced, almost progressive rock sound on tracks like “If You Can See Me”, which at first made me check to make sure a Yes track hadn’t snuck its way into my playlist. Tracks like these, I realized, were necessary to prevent the monotony that would have ensued, considering the mid-tempo nature of the majority of the record.

Overall, David Bowie’s unbeatable song-crafting abilities have benefited from the new technology available to him; his various music styles and lyrical strengths, unlike many of his contemporaries, have proved resilient to the test of time .   Here’s my favorite track (also the first single) “Where are We Now?”


The 20/20 Experience

After a five year sabbatical from the world of music –despite some SNL shorts– Justin Timberlake is back to doing pop music the right way. Much of the crisp, flowing, and utterly refined sound of both this release and Futuresex/Lovesounds is thanks to the brilliance of producer Timbaland, but to give him all the credit would be a diservice to J-Tim’s catchy and often clever lyrics, along with a wonderful set of pipes and all the right sensibilities.

The record starts off with an orchestrated hurricane of strings that descends into a delightfully infectious groove in “Pusher Love Girl”. The otherworldly production and catchiness continues in first single “Suit & Tie” before descending into some deeper cuts. Similar to his last release, Justin seems to craft each song with a formula of intro,verse, interlude, then back to the verse, all seamlessly compacted into 7-8 minute packages. Each section is unique (feeling more like movements of a classical piece than parts of a pop song) but still holds pieces of the greater whole; this lengthy formula is unheard of coming from any other pop artist.

20/20 surpasses the already stellar Futuresex/Lovesounds in the pure variety of the record. While “Suit & Tie” and and “Don’t Hold The Wall” incorporate danceable beats and spacey instrumentation, tracks like “Pusher Love Girl” and “That Girl” bring bright guitar riffs and soaring vocal harmonies to a slightly more halting tempo. Beyond that, tracks like like “Spaceship Coupe” and the introspective “Blue Ocean Floor” offer something more in terms of brooding reverb and swelling synths. The two constants through all this variety is the exceptional vocals and production that sets Timberlake’s records apart.

All in all, Justin Timberlakes 20/20 experience is one of the most refreshing records I’ve heard this year and has, in my opinion, surpassed his previous works. If you want to hear a modern R&B/pop masterpiece, give this record a spin; you won’t regret it.

Here’s my favorite track (this was painful to choose), “That Girl”.

The Comedown Machine

They’re back. Before I continue, I just want to let you know, valued reader, that I love all of their material. Yes, that includes the less well-received First Impressions of Earth and their most recent album before this Angles. I am a huge fan with a huge bias, so take this review with a grain of salt.

The most prominent thought I had throughout my listen-through of the album was this;”these guys have come a long way.” Each track, like Bowie’s record, seems to embody different periods in the groups career. 50/50 felt like Angles vocals collided with some of the slower tracks from First Impressions like “Ask Me Anything”, and “80’s Comedown Machine” feels almost like a Room on Fire B-side. Unfortunately, I don’t feel like these tracks live up to the entities they emulate, but the important thing is that every track is easily branded with a Strokes insignia.

That being said, unlike the majority of previous releases, the record grooves. A lot. Some of the funky electronic qualities that first manifested in Angles are even more effectively incorporated in tracks like “50/50″, “Slow Animal”, and “Partners in Crime”. Some may see this as a departure from what makes The Strokes great, but I see these advancements and occasional delving into something closer to Julian’s solo material as a welcome freshness.

This record is similar to Angles in that I feel like there is a track on here for everyone. Whatever you may feel for the Strokes, Comedown Machine has at least one track that will appeal to you. Even a poor misguided soul who was looking for a breezy jazz ballad in a Strokes record will find one in the final track “Call it Fate Call It Karma” (No, I’m not kidding). I enjoyed all of it thoroughly, and maintain that Julian, Albert and the boys still have something to offer to the world of music. Here’s my pick (and an excellent first track), “Tap Out”.

DOUBLE REVIEW 3

I began this review yesterday, but the lack of decent wi-fi and my boneheaded choice to not save my draft resulted a blank slate. I hope you enjoy this review of the new xx record and the David Byrne/St.Vincent collaboration, because I’m writing it (a second time) through gritted teeth.

The xx- Coexist

The xx blew many people away with their debut record, hooking audiences with simple grooves, reverb-soaked riffs, and compelling male/female vocal interplay. This new release, to be completely honest, is simply the second cd if the group had decided to release the debut as a double album. It’s a side B. The songwriting is the same almost to a fault, and all of the elements from the first record are there without any major changes.

Some may see this as a lack of creativity; I simply see it as a young band putting out more music they know people will like. The lack of any major changes works, because, well, their original sound works. One change I did notice this time around was a more fluid transition between tracks. I recognized and consciously separated tracks in the first record, while I felt a constant current-like smoothness between tracks this time around, which I felt was refreshing.

Overall, the album feels like part 2 of the debut, with a slightly more fluid track list. I grudgingly enjoyed it, but the group is going to have to do something different to keep my attention for their next effort.

Best Tracks: Angel, Chained, Try

David Byrne/St.Vincent- Love This Giant

I haven’t been this excited for an album in a very long time, and I was more than pleasantly surprised with this release from singer/songwriter St. Vincent and former Talking Heads frontman David Byrne. The songwriting is eclectic, charming, and curiously horn driven. Each artist wrote their own lyrics, with one exception being the Forest Wakes, which Byrne wrote. The album is simply delightful, still carrying the weird eclecticism that both artists channel, but in a little funkier, “saxier” (dear lord) fashion.

Overall, I can’t recommend it enough. You’ll be hooked.

Best Tracks: Who, Dinner for Two, Ice Age, Outside of Space and Time…all of it.

Concert Review: Foxy Shazam

Foxy Shazam is one of those bands that gets it right. They remind you of some of the greatest musical moments of the past and add a little kick of novelty. So when I heard from a variety of sources that they put on one of the greatest live experiences in the music world today, I had to drop the 20 dollars and hour and a half drive to see for myself.

If you’re unfamiliar with this wonderful new rock act reminiscent of Queen, check out these two videos before reading further.

The entire show was spectacular. Unfortunately, the opening band who sounded mysteriously like The Fall of Troy took an extra hour, which consequently shortened Eric Nally’s presence. But when he did enter the building, the energy didn’t leave until he did.

Let me just say, Foxy Shazam has one of the most powerful combination of stage personalities in the business. The bass player balances his bass on one finger, the keyboard player stomps on his instrument and plays it while crowd surfing (I helped  hold it up), the drummer alludes to coitis with the trumpet player with theirs, and Eric eats lit cigarettes and hits notes most girls can’t afterwards. There was not a moment of their 40 minute set that I wasn’t entertained, and I would gladly pay twice the price to do it all again.

Overall, my only complaint was that there was no encore. If you ever get the opportunity to see this big ball of energy in your own town, don’t hesitate. In the words of lead Singer Eric Nally,” Wham, Bam, Thank You Foxy Shazam.”

Smashing Pumpkins- Oceania

Billy Corgans’ latest entry into the world of modern rock music is one of excellent pacing and songwriting, as well as more experimenting with what gives the Smashing Pumpkins their signature sound.

After the last album, which became a critical punching bag (with good reason, in my opinion), Corgan seems to have worked hard to expand his sound and take more risks. At times during my listen-through, I was reminded of more recent groups that have entered the scene later than the 80’s-born Pumpkins, especially alternative rockers Circa Survive. A lot of reverb and delay can be heard in the guitar work, and an occasional synth layer on a few of the tracks is refreshing to hear compared to the Pumpkins past work. What really makes this album shine though is the pacing. Corgan organized this title with flawless flow, from the slower acoustic songs to the more experimental tracks to the slick and distorted rock and roll that brought his band to prominence. Lyrically, Corgan retains his fluxuating dark and bright tone, and the more electronic aspects really click with his voice.

Overall, this record has earned itself a solid 8/10 with me. Although it isn’t as ambitious as Mellon Collie, or as experimental as Adore, it still has what I want to hear in a pumpkins album (good lyrics, crooning vocals, and both articulate and heavy instrumentals) while also adding something new. Corgan strove to start a movement back to album oriented rock with this record, and I think for the most part, he achieved his goal.

Check out The Chimera below!

The Summer of Albums

I apologize for my recent absence to those eagerly awaiting an update (all 1 of you, hi mom), and I l be forcing myself to abide by a strict Tuesday/Thursday schedule upon my return from a wonderful week-long road trip to New Orleans. But enough about me; here are the albums I’m excited for this summer, and why you should be on the look-out for them.

Smashing Pumpkins -Oceania

This name should not be new to you. The Smashing Pumpkins, lead by bald-and-brilliant Billy Corgan, have inspired a generation of alternative rock that embraces a darker side of grunge without sacrificing beauty. Each of their releases barring their most recent, Zeitgeist, have pushed the envelope in alternative music and delivered some of the best singles in the history of the genre. My respect for Corgan’s longevity merits at least one listen-through.

Dirty Projectors- Swing Lo Magellan

Bitte Orca was one cool breeze of an album, and the bands’ unique vocal arrangements made them fun to listen to. They had established quite a discography before  I jumped on that I unfortunately have yet to fully explore, but Bitte Orca and their joint project with Bjork has me wanting for more.

Passion Pit- Gossamer

This may or may not be the highlight of my list. Michael Angelakos has encapsulated me with his music since his EP he wrote for his girlfriend in 2008. The full length, Manners, that followed blew me away and I have been digging in the desert for another drop of this groups’ sweet songwriting ever since. On July 24th, I will reach the oasis. If you have never listened to them, and enjoy bright synth-soaked joy, do yourself a favor and listen to Manners, and this.

Niki & The Dove- Instinct

Recently signed onto Sub-Pop Records, this duo has provided some promising singles, and from the little I’ve heard, the full length should be impressive. As far as style goes, they remind me of a mix between The Knife and Ellie Goulding; they have a very electronic sound with a strong lead vocalist.

Animal Collective- Centipede Hz

Deakin promised that it would be weird, and I hope it is. Animal Collective hooked me with their most recent outing Merriweather Post Pavilion, and I fell in love with earlier albums Feels and Sung Tongs. For those of you unfamiliar with them, imagine four friends making animal sounds and singing harmonies over a variety of loops and melodies while playing live drums. Then imagine them passing all the energy and joy that they took making this music into you. If you’re still wary, try this out.

Well that’s my say for now. Looking forward, expect honest reviews for each of these albums, as well as insight into what is looking like a wonderful fall of new releases. Peace.

Best Coast- The Only Place

Best Coast’s sophomore effort after the summery treat that was Crazy for You is noticeably less memorable. For one thing, the vocals have lost their dreamy and reverb-soaked charm, and it’s much harder to ignore the admittedly uncreative lyrics in each song. This direct lyrical style fit in the lo-fi, jangly surfing mood of the first album, but it seems out of place and boring in what can be described as an overproduced album. The duo has headed for a much poppier sound, and it’s not a change for the better. The charm of the punkish production and the exciting drive is gone, and the multiple harmonized vocal tracks remind me of  Taylor Swift.

Overall, if you are looking for a simple pop album to listen to, and you happen to like T-Swift (I don’t particularly care for her, but I don’t hate her either), give this album a listen. However, if you loved Crazy For You and expect more of the same summery greatness, you will undoubtedly be unpleasantly surprised.