52 Records

Top 10 Songs of 2011 (So Far...)

2011-06-30T22:39:00.011-04:00

Well, we've come to the halfway point of 2011...and in between Charlie Sheen's tiger-blood and the Royal Wedding there was actually some music released. In all fairness I still need to finish two reviews for White Denim and Big Sean before 52 Records will officially be 'halfway' complete. But nevertheless, here are the Top 10 Songs of 2011 in my opinion (so far)...

**I also have all 10 songs mixed down into one 40 minute track -- get in touch if you want it.

1.) Cults - Go Outside

2.) James Blake - Wilhelms Scream

3.) Foster the People - Helena Beat

4.) Bibio - Light Sleep

5.) Toro y Moi - Still Sound

6.) Yuck - Get Away

7.) Cut Copy - Where I'm Going

8.) Givers - Up Up Up

9.) Adventure - Feels Like Heaven

10.) Panda Bear - Slow Motion

WK24 - Cults - Cults (10)

2011-06-15T21:54:00.005-04:00

Released - 6/7/11

Label - Sony Music Entertainment

BLURB - Where to begin with this brilliant release from Cults? My prior knowledge of Cults was basically that they were some hipster pop band that people in Williamsburg listened to because it was the cool thing to do. And that their twitter handle is @CultsCultsCults. However, their latest self-titled release has completely blown me away. The album is filled with precise pop concoctions and creates a warm nostalgic glow that is immediately likable. The vocals are pristine, if not angelic, and establish a sincere and emotional tone that is far too inviting. I can't put this album down. This is what pop music in 2011 should sound like.

Rating - 10 out of 10

FULL STORY - As my roommates can attest to, I've been on something of a 60's pop binge lately. I spent last night grilling for four hours and blasting music from The Hollies, The Supremes, Sam Cooke, The McCoys and countless others. There's such a timeless quality to some of these groups and artists. The production, feel, instrumentation -- everything about it has just a fun-loving and relaxed atmosphere. Nobody's ever been around a group of friends and heard 'This Magic Moment' and said -- hey can you skip past this song...I don't like it. And so you can see why this 'style' of music was perfect for a night of summer grilling with some friends. Although it did end abruptly as I finished my tenth beer.

And with this being said, after listening to the new Cults album a few times, I was beginning to pick up some of these great 60's pop aspects that were prevalent on the new record. Much of the music on the album is creatively basic (if that makes any sense). Most songs follow a traditional pop song structure while incorporating stylings of pop music in the 60's such as hook repetition and modulation. There's nothing like a good key change for the final chorus -- it really brings it home. Now, that's not to say this album sounds like The Isley Brothers or The Beach Boys, because it doesn't. But Cults does a terrific job of modernizing some of the subtle pop tendencies from the 60's, and putting their own little indie twist on it.

'Abducted' leads off the album with a collection of xylophone chimes and a muffled acoustic guitar. After this unassuming introduction the drums (and the rest of the music) kicks in with force and conviction. Madeline Follin's vocals are somewhere between singing and yelling, but are filled with passion -- they almost remind of The Crystals' 'Then He Kissed Me.'

'Go Outside' could very well be the track of the year. The main vocal hook of the track is so intoxicating, you'll almost certainly find yourself subconsciously humming it everywhere you go. The hook is also repeated and used throughout the duration of the song creating a great sense of continuity and solidarity. Hooks aside, the tone of the song is bright and warm as faded snare drums, xylophones and guitar riffs provide the backdrop. Melanie Follin's vocals also sparkle as she croons throughout the song:

"I really want to go out. I really want to go outside and stop to see your day. You really want to hole up? You really want to stay inside and sleep the light away?"

The 60's pop feel is extremely evident on the track 'You Know What I Mean.' There is a Dusty Springfield glow to Follin's voice that will make anyone fall in love with it. The song teeters between that of a slow dance song with sudden pulses of intensity and emotion. While the song is somewhat slow and patient, the bursts of energy provide great diversity and keep the track interesting to listen to. I also really don't think Follin's performance can be understated here. It's great to hear someone actually singing a pop song with conviction. None of this Taylor Swift garbage.

'Never Heal Myself' has a distinct, yet subtle charm to it. The song has a gentle tempo and flow that is personified by the soft acoustic guitars which flows towards one of the better and more dynamic choruses on the album. The descending vocal lines against the chord progressions match perfectly, helping to establish not just a solid chorus...but a memorable one.

The incredibly basic 'Bad Things' features slow, distorted piano riffs as Follin offers up a collection of vocal harmonies. I can see how some people would get bored with this track, but I actually like the song for how patient and mellow it is. It's almost as if Cults accomplished more by doing less. I can't imagine this song being any different -- it suits itself.

This album is likely the best straight up indie-pop album I've heard this year (at least so far), and I didn't even mention some of the other gems on the album like 'Walk at Night' and 'Bumper.' The record as a whole is just such a strong display of what a bunch of good hooks, music and vocals can become. I love the simplicity of the album as well -- you don't have to think about it. There is an immediate acknowledgement your brain makes when it hears this record. It's comfortable and inviting -- everything music should be.

Take a listen to 'You Know What I Mean.'

Tracks

1.) Abducted

2.) Go Outside

3.) You Know What I Mean

4.) Most Wanted

5.) Walk at Night

6.) Never Heal Myself

7.) Oh My God

8.) Never Saw the Point

9.) Bad Things

10.) Bumper

11.) Rave On

WK23 - Battles - Glass Drop (6.5)

2011-06-15T21:48:00.005-04:00

Released - 6/6/11

Label - Warp Records

BLURB - Over the last few years, Warp has really been at the forefront of putting out new and innovative music. Just a quick look at their roster and you're blown away...Flying Lotus, Grizzly Bear, Bibio, etc. Battles certainly fits this mold of new, progressive and independent music. Honestly though, this record is tough to sink your teeth in to -- at times there is just too much going on. For the most part, the album is digital heavy -- with tons of new effects and noises that catapults Battles into the enigmatic 'experimental' category for me. While some tracks do have genuine appeal and creativity, as a whole the album tends to be a bit much. There's just too many ideas and stuff going on.

Rating - 6.5 out of 10

FULL STORY - 'Africastle' begins the album with dark and ominous tone. Distorted violins are plucked as rolling waves of fuzzed out guitars circle about. The track spends it's first two minutes continuously building and really starts going at about the 2:30 mark. What's missing from this track is a sense of melody and rhythm. There is really no motif as it's just a collection of distorted instruments and effects that never wind up going anywhere. However, this is offset by some of the creative arrangements that are given to the piece -- the song has three distinct sections which does provide for an interesting listen.

'Ice Cream' comes out like gangbusters and has become one of my favorite songs of the year so far. The song opens with a ferocious keyboard and organ battle that turns into a full-fledged war before settling in to a great hook that will serve as the foundation for the track. 'Ice Cream' has a clear direction and energetic mood to it that becomes infectious very quickly. The track also retains something of a rough exterior in part to it's distortion and thunderous percussion. After hearing this, I'm certainly beginning to become more optimistic about the rest of the album.

The third track, 'Futura' patiently builds as a collection of muted guitar chords and strings are bounced off one another. Waves of synths and organs are slowly pumped in, creating a futuristic ambience. Once the atmosphere is set, numerous leads are filtered in, mainly coming in the forms of keyboard and synth riffs. The track, while somewhat dark, retains an upbeat and adventurous tempo. 'Futura' is a great song to play if you're ever on Mars looking for aliens.

'Wall Street' is where some of the album begins to fall off. There is a cool arrangement of noises and effects, but there is just too much going on and at too fast a pace. It's hard to keep up. What initialy sounds like a creative electronica jaunt, quickly turns into chaos. 'Wall Street' sounds like something Flying Lotus would have created if he just drank about ten or twelve red bulls. With that being said, there is still a great energy and ambience to the track, but it ultimately ends up getting lost in its own confusion.

With 'My Machines,' Battles seems to falter again, trying to do too much without ever really accomplishing anything. The focal point of this particular track is the rapid and feverish drumming. It's so much the focal point of the mix, that it ends up taking away from the rest of the track. In reference to the rest of the instrumentation -- the percussion steals the thunder and every other musical element to the song has to play the second banana. Also, with a drum-heavy track like this, it's extremely difficult to establish any kind of harmony, melody or catchiness -- leaving the song treading in it's own waves.

'Dominican Fade' briefly wins me back with a bright display of colors and tones that will transport you to some futuristic beach. The pace is upbeat, the tone is inviting and there is almost a party feel to it...but there's a catch. For whatever reason this track clocks in at 1:49 and is ending just as I'm really starting to love it. Bummer. Luckily, the track segues into the spaced-out and trippy 'Sweetie and Shag.' This track continues on with some of the pop assimilations that were created in 'Domincan Fade,' adding a cool sense of psychedelic haze. The track is somewhat dizzying but remains both listenable and likable.

As a whole, Battles "Glass Drop," if nothing else, is an interesting collection of experiments and sounds that makes you do a little thinking. By no means, is this an album filled with songs and singles -- rather it's filled with ideas, fragments and movements. At times this approach can become a bit overwhelming and chaotic, but there is still some cool stuff buried in there. I'm not sure how often I'll be listening to this album in the future...but it's definitely unique enough to merit a few more times around my iTunes.

Take a listen to 'Ice Cream.'

Tracks

1.) Africastle

2.) Ice Cream (Feat. Matias Aguayo)

3.) Futura

4.) Inchworm

5.) Wall Street

6.) My Machines (Feat. Gary Numan)

7.) Dominican Fade

8.) Sweetie & Shag (Feat. Kazu Makino)

9.) Toddler

10.) Rolls Bayce

11.) White Electric

12.) Sundome (Feat. Yamantaka Eye)

WK22 - Dale Earnhardt Jr Jr - It's A Corporate World (9)

2011-06-15T21:38:00.006-04:00

Released - 6/3/11

Label - Warner Bros. Records

BLURB - Well, I've been waiting for this one for a while now. Probably about a year or so. Dale Earnhardt Jr. Jr. came out of nowhere (literally) over the past year, turning into 'must-see' acts at both SXSW and CMJ. Lucky for me, I was able to catch them twice and loved each show. Fast forward to about a year later, the band is signed to Warner Brothers and their first full-length album is finally released. There's actually been quite a few poor reviews for Dale Earnhardt Jr. Jr. -- this is not one of them.

Rating - 9 out of 10

FULL STORY - Perhaps the best part of Dale Earnhardt Jr. Jr. is their light-hearted nature and general quirkiness. I guess you kind of pigeon-hole yourself in to that territory by naming your band Dale Earnhardt Jr. Jr. in the first place. This is a band that dresses up in full NASCAR outfits when they perform live. This is a band that plays each of their shows with a giant american flag and flashing JR lights. This is a band that that is two people playing guitars over a synthesizer and drum loops.

So many have written them off by saying things like the duo hasn't musically matured to meet their hype. "It's a Corporate World" is terribly underproduced and unorganized is another common critique. My argument to that is, you knew what you were getting with Dale Earnhardt Jr. Jr. Forunately, for those that have been to their shows and fell in love with their inane fusion of 60's pop, folk and electronica - this is exactly what we thought it would be. I love the fact that the record isn't as tight as it should be. I love that sometimes there's a thousand things going on.

Lead single, 'Nothing But Our Love' is second on the album and sounds exactly as it does live. A slow and patient ballad that blends arpeggiated synths over finger picked guitars and a clap drum. Sweet. The slowness of the track can be something of a detriment, but the song recovers with heavy bridge of deep synth bass lines and a powerful outro that builds in intensity.

'An Ugly Person On the Movie Screen' once again has low production values and features muffled vocals, which oddly give the track an old-timey feel. Standing out on this track, however, is great bed of vocal harmonies that screams 60's pop. Playing against these melodies are collections of weird noises and sound effects -- which I kind of like, and I'm not sure why. You'll be listening to this track with your feet up on the desk and all of a sudden hear what sounds like a spaceship go flying by. I'm sure this irritates everyone else, but again, it's something that Dale Earnhardt Jr. Jr. would do.

'Simple Girl' is perhaps the folksiest track on the record. Consisting of mainly acoustic guitars and xylophones, there is a bright and airy feel to the track. It's the song you would imagine birds chirping along with. The duo combines standard pop progressions with collections of vocal harmonies and whistles that would suggest this song was recorded in any year but 2011. The lyrics are also very earnest, simple and somewhat endearing:

"She's a simple girl, she's governed by simple pleasures. She won't ever let you meet her family but she'll show you pictures. She's a simple girl and she's got simple emotions. She won't ever let you in, but she wants to keep you in her corner."

'Vocal Chords' sounds like something off of an old Beach Boys album, but with a modern twist of electronica -- if that makes any sense. Once again, the group shows off their inclination to write pop inspired tracks that are filled with vocal harmonies and color. This isn't really much of a surprise though, I mean after all one of the reasons Dale Earnhardt Jr. Jr. broke into the mainstream was because of their interpretive cover of the Beach Boys' 'God Only Knows.'

The most powerful track comes courtesy of 'We Almost Lost Detroit,' a cover of Gil Scott Heron's famous recording. Here the pace and energy are dramatically increased, as opposed to the majority of the album. Distorted guitars and dark riffs illuminate this cover as keyboards and synths are also pumped in. There is a great anthemic feel to the track that just seems to pump you up every time you listen to it.

So, sure, some of "It's a Corporate World" is a little bit out there and weird. It's perhaps something you wouldn't necessarily anticipate hearing from a Warner recording artist -- but it's true to Dale Earnhardt Jr. Jr.'s feel. And at it's core, "It's a Corporate World" is an entirely unique blend of old and new. At any point you could be listening to a song and say -- hey this sounds like a Beach Boys song, only to say -- hey this sounds like a Neon Indian song in the next verse. It's creative, it's fun -- it's simply a clever take on pop music in 2011. If nothing else, it's certainly worth a listen -- I don't think you'll regret it.

Take a listen to 'Simple Girl.'

Tracks

1.) Morning Thought

2.) Nothing But Our Love

3.) Skeletons

4.) An Ugly Person On a Movie Screen

5.) When I Open My Eyes

6.) Husbands (Interlude)

7.) It's a Corporate World

8.) Simple Girl

9.) If It Wasn't You...

10.) Vocal Chords

11.) We Almost Lost Detroit

12.) The Fisherman

WK21 - Givers - In Light (8)

2011-06-15T21:31:00.008-04:00

Released - 6/7/11

Label - Glassnote Entertainment

BLURB - Not going to lie here...I've never heard of Givers before this album. At all. I happened to to randomly stumble upon this when I was listening to some new releases a couple weeks ago. I listened to just about 30 seconds of the opening track and was instantly hooked. Givers mixes together equal parts of pop and indie-rock into this very accessible and likable record. Granted, nothing really stands out, but it's an album that I can just put on and know that nothing is going to suck. Which, actually, is kind of rare.

Rating - 8 out of 10

FULL STORY - "In Light" starts pretty much at full speed with opening track, 'Up Up Up.' The track bounces back and forth from electro-rock to afro pop. It reminds me of some kind of a fusion of Miami Horror and Vampire Weekend. The song is wonderfully varied, keeping you on your toes as you're listening. A great example of this is the patient and calm bridge that segues into the full on, in-your-face electric outro.

'Meantime' continues on with Givers' diversity. The track once again, while at a slower pace, moves about like teenager girl learning to drive -- speeding up, suddenly slowing down, going in a different direction. 'Meantime' will remind many people of bands like MGMT, Foster the People and the aforementioned Miami Horror as there is a constant barrage of both rock, pop and dance influences.

'Ripe' brings back the afro pop with some unique percussion providing the foundation for some brightly colored guitar riffs and voicing. The track has a dizzying quality to it, as it just floats about between gentle themes and will then break down into chaotic periods of distortion. At some points, certain portions of the song don't seem to quite fit, but in reality this just makes for a more interesting listen.

There's a bit of a fun reggae feel on 'Ceiling of Plankton.' The group vocals on this track also provide for an almost anthemic and tribal tone, making it hard not to sing along. The instrumentation on this track are also fairly captivating. At different parts of the song there are creative percussion fills, synthesizer riffs and flute solos -- all providing unique compliments to the song as a whole.

Another interesting aspect to Givers is their use of both male and female vocals, and how they go about finding clever ways to incorporate different sets and styles of vocals into each song. The female and slow-building 'Atlantic' provides an elegant display colors as the track is continuously gathering momentum and energy. Once the track crests over the three minute mark, a worldly collection of textures and instruments emerge and all of a sudden you feel like you're at some kind of jungle party. Due to the patient and bright nature of the song, the usage of female vocals provides a level of sincerity that likely wouldn't have been attainable had they been male.

Givers does get into trouble with a couple of their slower songs like 'Go Out All Night,' but for the most part "In Light" far surpasses any kind of expectations I had. There's diversity, energy and creativity throughout this record and it's very easy to recognize. Givers also inadvertently kind of create their own little sub-genre and sound with earthly fusion afro pop, rock and dance, that if nothing else, creates an entertaining collection of songs that actually have something to offer. Fans of bands like Foster the People, MGMT, Vampire Weekend, Fools Gold and Passion Pit should eat this album up.

Take a listen to 'Up Up Up.'

Tracks

1.) Up Up Up

2.) Meantime

3.) Saw You First

4.) Ripe

5.) Noche Nada

6.) Ceiling of Plankton

7.) In My Eyes

8.) Atlantic

9.) Go Out At Night

10.) Words

WK20 - Darwin Deez (8.5)

2011-05-25T23:16:00.007-04:00

Released - 5/23/11

Label - Lucky Number Music Ltd.

BLURB - Talk about coming out of nowhere. I had never heard of Darwin Deez before I saw one of my friends post a video of his on their Facebook wall about a month or so ago. To look at Darwin Deez is to look at a hipster doofus. He looks like someone that would be taking a long drag off of his cigarette while standing outside of American Apparel and listening to Animal Collective on his iPhone. But who are we to judge? Darwin Deez, actually, is quite the purveyor of simple and basic indie-pop rock songs, which immediately get jammed in your head. His album is incredibly fun and never tries to be something it's not. It's just good, clean fun.

Rating - 8.5 out of 10

FULL STORY - The album starts off with a bang in 'Constellations.' The track is an uptempo pop song that is upbeat enough to be considered a dance song. The song's instrumentation is fairly DIY as Deez employs both drum and clap tracks for the percussion. And Darwin Deez's guitar of choice...you guessed it - a cream Squier Stratocaster. Whether he's trying to be ironic or he actually likes that guitar I'll never know, but it's certainly a weird (and cool) choice. That was actually the first guitar I ever bought, so it does offer up some great nostalgia points for me.

'The City' is another great track that has a cool rhythm section and remains something of a bedroom production. I guess that's what really kind of gives Darwin Deez this instant unforeseen credibility. He's making these cool, unique pop songs by himself and with probably a $400 budget - but the tracks come out sparkling. With 'The City' there are key and tempo changes and there is a very conversational, yet emotional tone in the way the lyrics are delivered. It almost reminds me of a sped up and happier version of Death Cab for Cutie.

'Up in the Clouds' is probably my favorite track on the album. The hooks and melodies are far too addicting. Once again digital drums are present, along with just Deez's guitar and vocals. As the track builds, more riffs and background effects are filtered in as they build to a chorus that is sure to reel you in. The lyrics are simple enough that anyone can join in, and aren't too deep, which is actually a good thing - because then they wouldn't match the music and production if they were:

"We used to walk up in the sky, up where the air is rarified. We went hand in hand from cloud to cloud, but when I slipped we fell out. I'm sorry I let you down, down to the ground. But who cares now, we could be up in the clouds..."

'Radar Detector' is probably the most uptempo track on the record. It begs the question, how soon before we start hearing some incredible remixes for some of these songs? Almost all of Darwin Deez's album is moderate to uptempo songs with digital drums and simple hooks that could be turned into masterpieces to be played at your favorite late night bar in Brooklyn. 'Radar Detector' also features a unique dialogue of weird lyrics that never seem to get old and I find myself humming to myself all day at work:

"You and I buy star maps and drive my car around Los Angeles. You and I buy star maps and ding dong ditch televangelists. It's only been a week but I know you're mine to keep."

This sense of fun and spontaneity is what really drives this album. The music is extremely under produced and minimal. The lyrics aren't anything out of a Conor Oberst journal. The vocals won't remind you of Adele. But for whatever reason, this album is way too hard to put down. It's just fun, cool, uptempo and filled with energy. It's good music. Darwin Deez definitely kept it simple and didn't try to out think the room - which I can appreciate. Some songs can bleed into others at times, but for the most part this is a solid record that's here just in time for summer. You just gotta hit play and hang out - it will put you in a better mood.

Have a listen to 'Constellations.'

Tracks

1.) Constellations

2.) Deep Sea Divers

3.) The City

4.) Dna

5.) The Suicide Song

6.) Up in the Clouds

7.) Bed Space

8.) The Bomb Song

9.) Radar Detector

10.) Bad Day

WK19 - The Go! Team - Rolling Blackouts (3.5)

2011-05-25T21:36:00.006-04:00

Released - 2/1/11

Label - Memphis Industries

BLURB - I've got to say, I was really looking forward to "Rolling Blackouts" from The Go! Team. Granted, I had only really heard one other song of theirs ('Milk Crisis'), but it was amazing enough that I figured their new full length would be just as spectacular. Uhh....guess again. The album is a whirlwind of chaos and noise, for the most part. It kind of reminds me of what Sleigh Bells would sound like if, instead of a two piece, they were a forty piece marching band. The album seems to be moving in every direction, but never really goes anywhere...if that makes any sense.

Rating - 3.5 out of 10

FULL STORY - 'T.O.R.N.A.D.O.' is the most annoying song you will ever hear - this I'm sure of. Placing this song first on the album is perhaps the worst mistake The Go! Team could make. It's all over the place - a sensory overload. I made it threw about 45 seconds before I had to skip forward, hoping none of the songs that followed sounded anything like it. Immediately I was given a terrible impression of the record and couldn't help but feel some bias and pre-judgements filter in as I continued listening.

The second song, 'Secretary Song' was much more bearable, and something I would actually consider a decent song. It's bright and catchy, yet restrained and stays in it's lane. The Go! Team (and especially this track) remind me a little bit of CSS, a band that's grown on me over the years. Like CSS, I could see this track by The Go! Team making it's way into an iPod commercial. It's just cool and fun, and has a great feel to it.

Next up is 'Apollo Throwdown,' which reverts back to some unorganized chaos. Yes there is some melody and hooks here, but the use of so many instruments, synths, bass and group vocals inundates the track making it too heavy to listen to.

I'll admit, the first time I heard 'Bust-Out Brigade' I liked it. It plays like a danceable college fight song, complete with xylophone solos. If nothing else, it's very cool and unique the first couple times you listen to it. But after about the fifth listen, the nostalgia just wears off and it just settles in as this trombone-laden instrumental that goes nowhere and bores you to death.

'Voice Yr Choice' has this awesome (albeit brief) lead that sounds eerily Grateful Dead-esque. Surprisingly, this is one of my favorites of the album. For the most part, their overused horn section is subdued, allowing for other keyboard and vocal melodies to take the foreground. The song has a weird pop quality to it, while also coming off as energetic and diverse.

Random tangent - in my spare time I'm always making these hour long mixes for the gym. I press play, work out, and then once music is done...I'm done. But for the most part I always put obscure dance music on there that has a good beat and is different. I only say this because I think I'm going to put 'The Running Range' on my next one. That's not to say that I like the song, but if you listen to it, it just has this really cool beat that blends together a bunch of genres and has a great deal of momentum and movement. The track only has a few lines of lyrics, but the song is catchy enough to keep you interested for the three minutes and change that it runs.

"Rolling Blackouts" is probably one of the bigger disappoints this year, though. I was hoping for something like Sleigh Bells meets CSS, but got my high school band on Red Bull and Pop Rocks. The album is difficult on the ear drums and, and for the most part, lacks the hooks and melodies that would keep me interested. There's maybe a song or two on here that are worth checking out, but overall I wouldn't recommend going out and buying the album.

Have a listen to 'Secretary Song.'

Tracks

1.) T.O.R.N.A.D.O

2.) Secretary Song

3.) Apollo Throwdown

4.) Ready to Go Steady

5.) Bust-Out Brigade

6.) Buy Nothing Day

7.) Super Triangle

8.) Voice Yr Choice

9.) Yosemite Theme

10.) The Running Range

11.) Lazy Poltergeist

12.) Rolling Blackouts

13.) Back Like 8 Track

14.) Headache in My Heart

WK18 - Foster the People - Torches (9.5)

2011-05-25T19:59:00.006-04:00

Released - 5/23/11

Label - Sony Music Entertainment

BLURB - "Torches" is the record everyone expected MGMT to come up with after "Oracular Spectacular." Though not as musically ambitious as MGMT, Foster the People have arrived on the music scene with an energy and enthusiasm that I haven't seen since, well, MGMT. They're young, they're excitable and they're welcome in my iTunes library. I'd like to say I've been following them for some time now and just waiting for them to break...but I haven't. Let the records show that two months ago Mike Walp sent me a message saying, 'Hey check out Foster the People, you'll dig them,' or something along those lines. Someone get Walp a beer.

Rating - 9.5 out of 10

FULL STORY - In all honesty I think the music scene has been lacking in 2011 so far. Yeah we've had James Blake, Cut Copy and Yuck (maybe throw Bibio in there), but that's really been about it. I looked back to what was released early last year, and even before March was over we had already had a ton of great releases (most of which ended up being on my Top 15 Records of 2010 list). These included Freelance Whales, Surfer Blood, Toro y Moi, Local Natives and The Morning Benders - and don't forget Neon Indian's debut came out at the very end of 2009. If I had to take a guess now, there's only three albums (James Blake, Cut Copy and Yuck) that are likely to be on the 2011 version of that Top 15 list - and it's pretty much June already! So, suffice it to say, Foster the People are starting to break at the right time - and the music scene is eating them up. We've been waiting.

Like the band itself, Foster the People's music is easy to explain...yet complicated. If you're in a hurry, Foster the People is like a reincarnation of MGMT from 2008. They're an indie rock band that blends together interesting elements of pop and dance (to some extent) in their music. If you've got some time, their music does go a bit deeper and features some incredibly unique interpretations that, surprisingly, never cease to be entertaining.

'Helena Beat' leads off the album with a bang. The song could very well be one of the best ones I'll hear all year. Machine-esque synth and grinding leads blend together in an unexpected manner that will have you hitting the repeat button over and over again. Against the industrial sounding synthesizers is an incredible dance beat the provides the song with energy and momentum. Vocally, the song is filled with catchy hooks and melodies that cleverly bounce off of the track's instrumentation. At least for me, this is a track I don't see myself getting sick of for a very long time.

The second track on the album, 'Pumped Up Kicks' initially sounds like it's going to be some boring, uninspired work. The song starts with an admittedly catchy riff, but it, along with the vocals are muted and very down tempo. As the chorus approaches the instrumentation and vocals pick up and turn in to something you would expect to hear from MGMT. There is a certain swagger and coolness to the song that can't be understated. After hearing the chorus morph back into a new verse, you get a real sense of how well Foster the People can evoke moods and themes by varying the tone of the song. By differing the production levels and instrumentation, there is a level of interest that is evoked in the listeners - strangely turning this quirky little song into something of an anthemic hit.

'Call What You Want' should be in the next iPad commercial. It's perfect. The track begins innocently enough with just a kick drum and sound effects before a progression of tumbling piano chords emerge. From there, the song transforms into this creatively catchy masterpiece that finds a way to fuse an acoustic piano with rock, pop and dance. I don't think the piano can be understated, and has a great tone to it. At least for me, I feel that the acoustic piano progressions somehow validate and give the song credibility. It would have been all too easy for Foster the People to just plug in some synthesizers and call it a day, but the piano adds a strong sense of character and personality to the song. Also, for some strange reason, the vocals on this track eerily remind me of New Radicals.

Foster the People drum up the obligatory downtempo ballad that's still catchy with 'I Would Do Anything.' The production of the song can definitely evoke some emotion and I can certainly see this song being placed in a film. You know, maybe there's a scene where two close friends just kissed for the first time and the guy is driving away on a deserted highway by himself with a half smile on his face? Music supervisors - listen to this song and read the lyrics and tell me that's not a home run idea:

"Never want to stand up for myself, never want to get in the way - I said it. I don't know what the plan is, but you can share with me, because I'll be listening here to everything you say, I won't turn away. And I will listen, open up my heart and I must say that I love you so. Oh la love, I've fallen in love and it's better this time than ever before."

Enough romantic song placements. Foster the People also drum up something of a hit in 'Houdini.' That song has an incredibly big beat that is driven home with bulky piano riffs. The track remains somewhat moderately paced but never gets too slow. The bridge after the chorus features some crafty synth work that will reel you in if you weren't exactly captivated by the song's initial movement (I wasn't). Towards the end of the track the song climaxes with a great outro that pulls out all of the energy and excitement that you knew was lurking somewhere behind the curtain.

The remainder of the album remains much in the same vein. You never what's lurking behind the next corner, but you're invariably rewarded as you continue listening. There is so much creativity, enthusiasm and curiosity on this album - it's really hard to put down. It really is a breath of fresh air and a record you can simply just push play on - there aren't any songs worth skipping over. The only flaw may be that, while creating this unique and fun interpretation of pop/rock, Foster the People do tend to rely on the same techniques and song constructions throughout the album. The more you listen to this record, a few of the songs do tend to blend in with one another - but never in a way that is overly detrimental. It's just something I've noticed. That being said, "Torches" is definitely an album to go out and pick up (especially if you're into MGMT, Passion Pit, etc.), and should be one of the most played albums of this summer.

Have a listen to 'Helena Beat.'

Tracks

1.) Helena Beat

2.) Pumped Up Kicks

3.) Call It What You Want

4.) Don't Step (Color on the Walls)

5.) Waste

6.) I Would Do Anything for You

7.) Houdini

8.) Life On the Nickel

9.) Miss You

10.) Warrant

11.) Broken Jaw

WK17 - Adventure - Lesser Known (7)

2011-05-21T22:18:00.005-04:00

Released - 3/21/11

Label - Carpark Records

BLURB - This album has slowly crept into my rotation over the last month or so. Adventure is a three piece group that blends electronic music, pop and indie into this surprisingly cool mix of hipster dance music. While the group is young (and it shows), there is certainly the potential for Adventure to become something dynamic. The lyrics are sparse, but the musical ingenuity and ideas are not, as Adventure's "Lesser Known" spends much of it's time weaving between 80's pop and 00's electronica.

Rating - 7 out of 10

Full Story - I'll try to filter out the bias for this album, but there are some things that should go on the record. I heard about Adventure through a friend of mine, Dave Fell, who is -- yes -- a member of Adventure. And yes, his name is Dave Fell. Before Dave's musical career started taking off, he was more known for his glove at first base. I played baseball with Dave all the way from little league through varsity baseball in high school and he was always the guy with the jokes, but also the guy that would hit the go-ahead home run. So when I got wind of Adventure, and heard they were opening for Toro y Moi in Brooklyn -- there's no way I could miss that. Adventure played a great set in front of crowd that largely had no idea who they were. It was evident how well they performed when I had to wait for a crowd (ok, maybe 5 or 6 people) to pass, to catch up with him. I ended up picking up their album and it keeps finding it's way into my playlist.

On to the actual music though. The album begins with 'Open Door,' a synth-ridden opener that quickly established the feel and tone for the album. The track basically features one riff, as background instrumentation is continuously being filtered in and out. The song gets a bit monotonous, but the backing beat is solid enough to make you forget about the repetition.

The strongest track on the album has got to be 'Feels Like Heaven.' Like 'Open Door,' much of the track is repetitious, but the vocal hook and underlying melodies provide a strong foundation. The song has a bright eighties feel to it, and could double as a new-age synth-pop hit. The vocals are of a somewhat higher pitch and remind me of something off of a Passion Pit or MGMT record. The beat of the track is also filled with incredible momentum, while the song itself remains somewhat down tempo. The lyrics are also somewhat intriguing as they go back and forth between the lines "this feels like heaven" and "this is my heaven," adding a sincere tone to the song.

'Smoke and Mirrors' comes off as a bit cheesy. Sorry Dave. The song has a weird tropical feel that I can't get into. I don't know if it's because I hear bongos and synthesizers at the same time or what, but I just don't feel it. The vocals on 'Smoke and Mirrors' are also a little sub-par here and definitely detract from the song.

'Lights Out' is the song I want to hear right before the apocalypse hits. It's loud, energetic and danceable. It's such a great party song and has an incredible amount of energy and excitement. The synths are somewhat darker and have a more industrial tone to them, but when they are coupled with some of the brighter synths and leads the result is unbelievable. Once again there is a great beat providing the foundation and carries the track throughout the chaotic instrumentation.

For the most part, "Lesser Known" is a collection of these great ideas and fragments that are transformed into songs. While that can yield great results like 'Feels Like Heaven' and 'Lights Out,' it can also create repetition and monotony. Many of the songs on the album feel like just a single theme, hook or lead that is extended long enough to create a song. Don't get me wrong though, some of these pieces are amazing, but it would be nice to see a little more diversity in the songs themselves. I think with another year or two, though, Adventure is going to mature into a great electronic indie-dance band. But for now, "Lesser Known" is nothing more than a great start.

Take a listen to 'Feels Like Heaven.'

Tracks

1.) Open Door

2.) Feels Like Heaven

3.) Smoke and Mirrors

4.) Fool's Paradise

5.) Rio

6.) Lights Out

7.) Relax the Mind

8.) Electric Eel

9.) Meadows

WK16 - Panda Bear - Tomboy (6.5)

2011-04-27T22:16:00.004-04:00

Released - 4/12/11

Label - Paw Tracks

BLURB - Panda Bear returned to the conversation a few weeks ago with his latest release, "Tomboy." Aside from being a member of the critically acclaimed Animal Collective, his solo career has been equally impressive. His "Person Pitch" record in 2007 was named best album of the year and went on to be be named as one of the top one hundred albums of the decade by numerous media outlets. So what does Panda Bear (or Noah Lennox) do for an encore anyway?

Rating - 6.5 out of 10

FULL STORY - For many, Panda Bear is, and always will be, a tough listen. He weaves artistic melodies and themes amidst a sea of hazy loops and ambience that can overwhelm your eardrums. Listening to a Panda Bear song is more of an auditory experiment. Don't let this deter you from his music though -- buried underneath the noise and repetition are very structured pop ideas and infrastructure. The vocals are generally filled with waves of reverb and delay, which gives the song a deeper depth and presence -- as if every song was sung by a choir of men. The best part of Panda Bear though, has got to be his lyrics. Panda Bear's lyrics are incredibly simplistic and basic, yet possess so much thought and innocence -- each track plays like a poem written by an eight year old. Honest and simple.

The album begins with 'You Can Count On Me,' which gently floats along. The pace is slow and careful, but comes off a bit dull. The lyrics mainly consist of Lennox pining for his audience to know that they can, in fact, count on him.

'Tomboy' picks up the energy as Panda Bear employs a series of looping distorted guitars and key changes. But it's obvious to me, right away, that this album takes on a completely different tone than "Person Pitch." The 2007 record was bright and warm -- while "Tomboy" has yet to establish much of a personality. Overall, 'Tomboy' (the song) comes off as monotonous and indifferent.

And so just as soon as I'm beginning to have my doubts about this record, we're hit with 'Slow Motion,' a breath taking track that brings us back in. The song has a great fusion of sounds and loops and some actual character. The vocal melodies that are present are intoxicating and synch perfectly to the music. The lyrics are an interesting take on advice as Lennox tries to convey how it's sometimes more important what people don't say, rather than what they do say:

"So they say practice makes you perfect. So they say you can't teach an old dog. So they say have an apple a day. So they say better safe than sorry. Everyone knows what they always say. And when I slow down, it's just clear how it's what they don't say that counts."

'Last Night at the Jetty' is another masterpiece that will casually sneak up on you. The song reminds me of "Guys Eyes" by Animal Collective, in that it has this old retro feel to it, but somehow also feels modern. The song mostly wades through some warm tones and calming ambience but does build to a powerful bridge halfway through the song. The melodies are also on point, and backed against a chorus of fuzz and reverb, sound like a slow Beach Boys track on acid.

A few other notable tracks are 'Afterburner' and 'Alsatian Darn,' but outside of those, the album really feels empty. There's something of a dark, industrial undertone that mires much of the record in apathy and carelessness. "Person Pitch" had so much color and positive energy, despite Panda Bear's repetitious recording style. "Tomboy" has the same production techniques and qualities, but is missing some substance and energy. It doesn't have any defining characteristics and just sort of exists. I am and will always be a Panda Bear / Animal Collective fan, but this album really doesn't do it for me (outside of a few key tracks).

Take a listen to 'Slow Motion.'

Tracks

1.) You Can Count On Me

2.) Tomboy

3.) Slow Motion

4.) Surfer's Hymn

5.) Late Night at the Jetty

6.) Drone

7.) Alsatian Darn

8.) Scheherazade

9.) Friendship Bracelet

10.) Afterburner

11.) Benfica

WK15 - Cut Copy - Zonoscope (9.5)

2011-04-27T20:25:00.005-04:00

Released - 2/8/11

Label - Modular Recordings

BLURB - I never really got into Cut Copy over the past few years. I remember thinking once that all of these 'C' bands were all the same (Cut Copy, Crystal Castles, Chromeo, etc). Looking back now, those three bands are so entirely different, I can't believe that I just wrote all of them off as hipster dance bands. Cut Copy, actually, is quite far off from some generic hipster dance band. Sure they have some of the uptempo dance chops that remind me of Delorean, Hot Chip or Passion Pit, but on 'Zonoscope' they've also forged ahead and transformed into a dynamic indie act that doesn't deserve just a fleeting glance. The new record is much more well rounded and diverse, providing a unique listening experience for their audience.

Rating - 9.5 out of 10

FULL STORY - I should have known I'd like this album - Cut Copy is from Australia. Geography aside, I took a bit of a further look into Cut Copy to see what brought them to 'Zonoscope.' For much of their career, Cut Copy was that typical dance-rock band that had a couple songs of interest, but not much else. They had some hits that got jammed in your head and made for a great road trip soundtrack - but for the most part it was just fleeting success. Move to 2011 - Cut Copy has refined and modulated their sound while still appealing to their long standing fan base. 'Zonoscope' has a much more interpretive feel than records past and is filled with depth and substance. Rather than just throwing out a hook and seeing if people like it, they've shifted their focus to generating momentous and dynamic material that constantly grows on its listeners. There's a real sense of maturity on this album.

"Need You Now" opens the album with a steady and repetitive bass line that cycles throughout the song. Slowly, synth and chimes filter in as the drums kick in and the song finds its initial groove. Before long, the intensity picks up and waves of ambient synth flow in and out of the speakers with subtle hooks and riffs. The song has an underlying 80's feel and for whatever reason, it consistently reminds me of a more interpretive version of OMD's "If You Leave."

The second track, "Take Me Over" feels like a more mild-tempered Delorean track. The verses are fairly subdued and mainly consist of clean guitar lines and hi hats. As the chorus approaches you can tell the track is moving towards more of a dance feel as a catchy synth chord progression takes the wheel. Cut Copy does a great job on "Take Me Over" with varying their tempos and moods - while it may serve as their obligatory single - it still has character and versatility that is worth noting.

Following "Take Me Over" is the surprisingly beautiful "Where I'm Going." Filled with background harmonies and a beach-pop feel, the track literally sounds like it should have never made it on to the album...but this is Cut Copy's maturity shining through. The track feels like a modern interpretation of the Beach Boys that is filled with indie quirks and production values. It's graceful, patient and incredibly likable. I'm more than ready to put this on to a summer mixtape.

"Blink and You'll Miss a Revolution" begins out with a fog of distortion and sound effects before going into something of an atmospheric-island jam. As the vocals and keyboards hit, there is a noticeable edge and aggression that reels you in. The song has a very eery quality to it, yet is offset by the bright colors and tones that are used. Just before the two minute mark, the track really hits its stride, as a wall of sound emerges amidst a now upbeat tempo. The track then returns to its darker verse only to re-emerge with more energy and an incredible violin outro that slowly morphs into "Strange Nostalgia for the Future."

"Hanging On To Every Heartbeat" is a slow moving track that is constantly shifting instrumentation and texture. The song begins with inconspicuous little guitar riff that plays against a soft fog of synth. As the verse moves along, the synth is exchanged for acoustic guitars before moving into a very keyboard and computer-driven chorus. Somehow these constant changes in instrumentation and tone work. They keep the song interesting and relevant, without coming off as abrupt or disrupting the natural flow of the song.

Cut Copy's 'Zonoscope' appears to be one of the pleasant surprises of 2011 and is definitely an album I'd recommend to anyone that is a fan of Delorean, Miami Horror or Hot Chip - but also wants a little depth and experimentation. It's just a solid record.

Take a listen to "Where I'm Going."

Tracks

1.) Need You Now

2.) Take Me Over

3.) Where I'm Going

4.) Pharaohs & Pyramids

5.) Blink and You'll Miss a Revolution

6.) Strange Nostalgia for the Future

7.) This Is All We've Got

8.) Alisa

9.) Hanging Onto Every Heartbeat

10.) Corner of the Sky

11.) Sun God

WK14 - Bibio - Mind Bokeh (9.5)

2011-04-03T16:04:00.007-04:00

Released - 2/4/11

Label - Warp

BLURB - One of this year's great surprises (well, not really) has got to be Bibio's "Mind Bokeh." Bibio feels like they've been around for ages, but they finally started to gain some real notoriety over the past year with their previous record, "Ambivalence Avenue." They went from an underground indie/electronic unknown, to basically a mainstay in today's music scene. Their track, 'Lovers Carvings' was even featured as the background music for an Amazon Kindle commercial. "Mind Bokeh" proves that Bibio still has that gift for producing creative and interpretive indie/electronic music. The record can be played in any which way and feels like a complete work of art. The best part of Bibio is that their music is fused from so many different styles that it really becomes a must-listen for any fan of music.

Rating - 9.5 out of 10

FULL STORY - "Mind Bokeh" begins modestly with 'Excuses,' as the ominous track slowly takes shape amidst a flutter of sound effects and digital noise. The song is continuously building and morphing colors as it turns into something of an avant garde, digital-european feel. The track then segues into the patient 'Pretentious' as dirty snare drums and what sounds like broken clocks play. Bibio does a great job at building anticipation and excitement in their music - you can almost compare them to Flying Lotus - there's always something up around the bend. As 'Pretentious' continues to build, the song transforms into this incredible slow jam complete with wavering synth lines and hooks.

'Anything New' is an unbelievable tune, that is chopped up, glitchy, yet is incredibly listenable. The song has a great dance feel that you would have never expected. Contributing to the song's appeal are the layers of hooks and riffs that capture your ears. The song also maintains a steady diet of diversity as the instrumentation is constantly changing and introducing new pieces.

'Light Sleep' brings the funk. This track is lively and has an early disco's feel to it, and is produced with a real retro and vintage feel to it. Just listening to 'Light Sleep' takes your mind away to a different place and puts you in a great mood. The song is something that I would have expected to hear on some AM Gold radio station in 1975. Once again there are numerous synth hooks and melodies that appear, only this time they are over a bed of wah-guitars and some very modest, yet ingenious percussion.

When I first heard 'Take Off Your Shirt' I was like...'oh no, Bibio what are you doing?!' The track begins with collection of hard guitar riffs and sounded like it was going to turn into some terrible rock song. This was a far departure from the Bibio I've come to know. But yes, it is a rock song - and yet it's somehow growing me. It gives Bibio that extra punch and power that you would really never expect. I still haven't come completely around on it, but nonetheless, it's very cool to see a band that refuses not to enter different genres.

'Artists Valley' will take you back to old school Bibio as the track begins with a raw folk feel. From there waves of snares, synth and digital effects come to the forefront. For the most part the track is fairly downtempo and establishes a couple nice grooves, while remaining somewhat raw and unfiltered.

'K is for Kelson' appears to be the 'Lovers Carvings' of "Mind Bokeh." It's one of those songs that are just fun to listen to. There is so much energy and excitement - and just makes you want to move around. The track feels huge, and sounds like it uses no less than 50 different instruments. The outro of the song is also worth mentioning as it has one of the coolest sounding dual synth leads I've ever heard.

While "Mind Bokeh" does tend to leave behind much of the folk influences they experienced with on "Ambivalence Avenue," (don't worry, there is still some there) the record jumps Bibio's career up another notch or two. The album is filled with artistic interpretations of both classic and newer forms of music. When these styles are created with the skill and talent of someone like Bibio, the music really jumps out of the speakers and makes you appreciate what exactly you're listening to.

Have a listen to 'Light Sleep.'

Tracks

1.) Excuses

2.) Pretentious

3.) Anything New

4.) Wake Up!

5.) Light Sleep

6.) Take Off Your Shirt

7.) Artist's Valley

8.) K is for Kelson

9.) Mind Bokeh

10.) More Excuses

11.) Feminine Eye

12.) Saint Christopher

WK13 - Destroyer - Kaputt (3)

2011-04-03T15:58:00.007-04:00

Released - 1/25/11

Label - Merge Records

BLURB - I have to say, Destroyer's "Kaputt" has to be one of the biggest flops of 2011. I had such high expectations for the record, as a barrage of buzz was filtering in and out of Brooklyn Vegan and Gorilla vs. Bear. The album is slow, unadventurous and tedious. Yes, certain parts are incredibly mellow and unexpectedly colorful, but "Kaputt" is not something that will be making it's way into my everyday playlist.

Rating - 3 out of 10

FULL STORY - First things first, yes I know Destroyer has been around for years and years, and I am just now trying to get into his music. Forgive me. But in all seriousness, doesn't that just provide me with objectivity? The first time I heard of Destroyer was a few months back when Gorilla vs. Bear featured his video for 'Kaputt.' I loved it. Even if you haven't seen the video, just Google it...it's worth the six minute watch. But almost immediately after I watch the video I knew I'd have to go buy the album. The song itself was ok, but the video was so cool that it just kind of spiked my interest.

And so I guess I'll begin with 'Kaputt.' The worst part of 'Kaputt' is that it clocks as the sixth track on the album, so if you're trying to listen to the record straight through, you really have to sit through five terrible songs before you get to one 'ok' track. 'Kaputt' is very mellow and relaxing and kind of just floats around. It has a very day-dreamy feel to it. The lyrics also create a sense of wonder and aimless journeying:

"Wasting your days, chasing some girls. Alright..chasing cocaine - through back rooms of the world all night"

Musically, 'Kaputt' is very minimal - which I do like for this particular song. It reminds me very much of a pop / keyboard-driven version of The XX.

Unfortunately, the rest of the album is just an abysmal failure of monotonous and uninspired keyboard pop. I would really just be wasting time if I tried to go through, song by song, and review each. They are all that similar and invariably use the same formula. Slow keyboards, slow lackluster bass lines and the occasional saxophone solo. The vocals aren't anything to write home about either...pretty much just spoken dialogue in a soft tone. I'm just not feeling it...

Take a listen to Destroyer's 'Kaputt.'

Tracks

1.) Chinatown

2.) Blue Eyes

3.) Savage Night at the Opera

4.) Suicide Demo for Kara Walker

5.) Poor in Love

6.) Kaputt

7.) Downtown

8.) Song for America

9.) Bay of Pigs

WK12 - The Strokes - Angles (6.5)

2011-03-23T20:07:00.003-04:00

Released - 3/22/11

Label - RCA Records

BLURB - Finally! After years and years of waiting, the public has finally gotten what they have demanded from The Strokes - a new album. For those that have been following this drama, it was a tumultuous period for the group filled with constant arguments and fights over the material. Compound this with Julian Casablancas, very publicly, pursuing his own solo career. But, push come to shove, the album is here. While I don't think there will ever again be releases like "Is This It" or "Room on Fire," - "Angles" certainly delivers some classic-Strokes tunes. But in all honestly, the new record doesn't stand up to the high bar of expectations all of us have come to expect from The Strokes.

Rating - 6.5 out of 10

FULL STORY - First and foremost, we can finally move forward from "First Impression of Earth." This was by far The Strokes worst album, and arguably, one of the worst albums ever made. "Angles" appears to have a similar 'experimental' aspect to it, but much of the new songs do have a old-school, grassroots Strokes feel. Which is definitely a good thing...but there are still plenty of question marks on "Angles."

One of the first experiments comes on the album's opener, 'Machu Picchu.' This song is weird, I'm somewhere in between hating and loving it. The verses are made up with some weird oriental-80's guitar work that I can't seem to get into. It's a little slow, and somewhat monotonous. However, the chorus and subsequent guitar interludes are amazing. The energy and the overall feel of the song becomes much brighter and more frenetic. This is The Strokes we all love. It almost feels like the song is made up of two entirely different parts, and when they are fused together...it doesn't really work

'Under Cover of Darkness' is the definitive best song on the album. The track is comprised of riffs and melodies that are constantly bouncing off of each other. There is a very fun and light feel to the song that is simply infectious. Further helping the song along, is a huge chorus that is belted out with immense force and depth.

Julian dials in the 80's once again for 'Two Kinds of Happiness,' and once again I'm not to sure about it - and this is coming from someone that loves 80's music. In a weird way, 'Two Kinds of Happiness' reminds me of 'Machu Picchu' in the sense that once again there are two clearly distinct sections of the song that don't match well together. With 'Two Kinds of Happiness,' the retro 80's feel of the introduction and verses are extremely well done. Simple, yet melodic. But then the music merges into this uptempo, thrashy chorus that seems to go nowhere. It just doesn't mesh.

'Gratisfaction' is old school Strokes at its finest. The track sounds like a hit someone concocted with their blues band in their garage in 1978. There is definitely a feeling of soul and blues in 'Gratisfaction.' It's also bright and energetic and fairly impossible to stop listening to, which is something I've had trouble with. Song like this are what we've all been waiting for. Awesome.

In all fairness, we probably wanted the world with "Angles." But The Strokes did finally give us a new album, so we should probably just all shut up and listen to it. That being said, it's not as strong as I hoped it would be. You can almost feel the creative control over the material through the music. Songs like 'Life is Simple in the Moonlight' and 'Call Me Back' are far cries from 'Last Night' and 'Someday.' I respect the risks involved with these tracks and some of the other ones, but just give us a couple chords, a cool melody and Julian crooning about being drunk with a girl. That's all we wanted.

Take a listen to 'Under Cover of Darkness.'

Tracks

1.) Machu Piccu

2.) Under Cover of Darkness

3.) Two Kinds of Happiness

4.) You're So Right

5.) Taken for a Fool

6.) Games

7.) Call Me Back

8.) Gratisfaction

9.) Metabolism

10.) Life is Simple in the Moonlight

25 Bands to Watch @ SXSW

2011-03-10T23:59:00.006-05:00

So every year I do a little write-up of bands that I'll be watching at SXSW. Here's a great list of 25 artists to look out for in Austin and in 2011 (in ABC order no less). Enjoy!

1.) Braids - http://schedule.sxsw.com/events/event_MS14183

- cool, slow rising indie band w/ a female singer. very spacious and have a little pop in them.

"Lemonade" -http://soundcloud.com/drewtewksbury/braids-lemonade

2.) Cloud Nothings - http://sxsw.com/node/6636

- young and up and coming indie/punk rock band. may be the surfer blood of 2011. still not sold on them, but lots of buzz so far this year.

"Should Have" - http://soundcloud.com/carparkrecords/cloud-nothings-should-have

3.) Dale Earnhardt Jr Jr - http://schedule.sxsw.com/events/event_MS11552

- perhaps a little over hyped, but still good. indie-pop / folk / electronica duo, with great vocals.

"Nothing But Our Love" - http://soundcloud.com/lalalafuckingla/dale-earnhardt-jr-jr-nothing

4.) Eastern Conference Champions - http://schedule.sxsw.com/events/event_MS11634

- rock / pop / indie. i kind of liken them to cage the elephant a little.

"Bloody Bells" - http://soundcloud.com/sarasetorecords/eastern-conference-champions-bloody-bells

5.) Foster the People - http://www.panicmanual.com/2011/03/02/sxsw-preview-foster-people/

- just started getting to them, remind a bit of mgmt. kind of werid and awesome at the same time.

"Helena Beat" - http://soundcloud.com/theclink/foster-the-people-helena-beat

6.) French Horn Rebellion - http://schedule.sxsw.com/events/event_MS14745

- my absolute favorite party band. if they are playing a late night set and you're in the mood for drinks...definitely go. always a huge hipster dance party. new cd is very weird, but mainly their music is electronic indie dance music.

"This Moment" - http://soundcloud.com/onceuponatimemusic/french-horn-rebellion-this-moment

7.) GAYNGS - http://schedule.sxsw.com/events/event_MS12702

- still yet to jump on their bandwagon. more or less, a spacious and creative indie band which includes justin vernon of bon iver.

"Ride" - http://soundcloud.com/kevin-11-3/ride-by-gayngs

8.) Holiday Shores - http://austin2011.sched.org/artist/holidayshores

- saw them last week open for tennis & la sera, holiday shores easily could have headlined. great mix of surf rock, pop, indie, afro-pop. they remind me of an early and more innovative vampire weekend.

"Phones Don't Feud" - http://soundcloud.com/the-vinyl-district/holiday-shores-phones-dont

9.) James Blake - http://schedule.sxsw.com/events/event_MS14555

- the boy wonder from UK. does everything from dubstep to progressive pop. one of the must-sees of sxsw, i'm checking him out in BK next week.

"The Wilhelm Scream" - http://soundcloud.com/blatanti/james-blake-wilhelm-scream

10.) Jamie Woon - http://schedule.sxsw.com/events/event_MS13236

- another boy wonder from the UK. has an amazing voice and his music is very experimental pop.

"Night Air" - http://soundcloud.com/cameelah/jamie-woon-night-air

11.) Kisses - http://twitter.com/blowkissess/status/43755133292658688

- most underrated band of 2010. breezy, catchy, mellow indie pop music. side project from the singer of princeton.

"Kisses" - http://soundcloud.com/kalisana/kisses-kisses

12.) La Sera - http://sxsw.com/node/6525

- very beachy and simple music from katy goodman of the vivian girls. saw them last week, nothing spectacular, but for some reason people love katy goodman.

"Never Come Around" - http://soundcloud.com/hardlyartrecords/la-sera-never-come-around

13.) Miami Horror - http://schedule.sxsw.com/events/event_MS14742

- one of my favorite bands from 2010. awesome indie band that has an amazing dance element. neon indian produced much of their album...enough said.

"Holidays" - http://soundcloud.com/hypetrak/miami-horror-holidays

14.) Middle Brother - http://schedule.sxsw.com/events/event_MS11309

- indie folk / rock supergroup featuring members of delta spirit, dawes and deer tick.

"Someday" - http://soundcloud.com/search?q%5Bfulltext%5D=middle+brother+someday

15.) Penguin Prison - http://schedule.sxsw.com/events/event_MS13368

- another favorite of 2010. have seen them maybe 4-5 times in the last year. awesome pop band with an amazing frontman that i would liken to justin timberlake or adam levine of maroon 5

"The Worse It Gets" - http://soundcloud.com/penguin-prison/the-worse-it-gets

16.) Sharon Van Etten - http://schedule.sxsw.com/events/event_MS13519
- beautiful collection of folk, pop and indie acoustic. has a huge and loyal following. an act everyone seems to root for.
"One Day" - http://soundcloud.com/kyleokonis/sharon-van-etten-one-day

17.) Smith Westerns - http://schedule.sxsw.com/events/event_MS14654
- one of the of the most buzzworthy indie bands. raw, unique and filled with creative energy. remind me of a rougher version of the thrills with more pace.
"End of the Night" - http://soundcloud.com/the-vinyl-district/smith-westerns-end-of-the-night-1

18.) Still Corners - http://schedule.sxsw.com/events/event_MS15019

- indie band i've been following, still trying to figure them out, i'm seeing them on saturday. but they are very mellow, graceful and spacious.

"Endless Summer" - http://soundcloud.com/tenderage/still-corners-endless-summer

19.) Sun Airway - http://schedule.sxsw.com/events/event_MS14116

- great indie band with lots of bright and warm tones. nothing really has blown up for them, but they're still trying.

"Oh Naoko" - http://soundcloud.com/lifeboxset/sun-airway-oh-naoko

20.) Tennis - http://sxsw.com/node/6620

- very vintage, lo fi pop music that's made for the beach. can be a bit monotonous, but do have some quality material.

"Cape Dory" - http://soundcloud.com/aalbert83/cape-dory-tennis

21.) The Chain Gang of 1974 - http://austin2011.sched.org/event/3d61dda13236e38f3274a43c7bad08a3

- weird fusion of dance and indie pop. a bit enigmatic, nobody knows what to make of them

"We At the Disco" - http://soundcloud.com/kelsea/the-chain-gang-of-1974-stop

22.) The Head and the Heart - http://schedule.sxsw.com/events/event_MS13280

- great indie / acoustic / folk band that has been on the rise this year. kind of like fleet foxes but fun and with more pop.

"Ghosts" - The Head and the Heart - http://schedule.sxsw.com/events/event_MS13280

23.) Toro y Moi - http://www.austinbloggylimits.com/2011/03/sxsw-2011-preview-toro-y-moi.html

- probably my favorite artist of the last 2 years. used to be solely electronic but now has a full band and is just as good if not better. indie dance, pop, funk, chillwave.

"Still Sound" - http://soundcloud.com/musicmule/toro-y-moi-still-sound

24.) Yellow Ostrich - http://schedule.sxsw.com/events/event_MS13913

- every time i see yellow ostrich there is a crowd of 30,000 19 year old girls. indie pop / slightly rock / slightly folk. i think they are going to blow up. maybe this years freelance whales?

"Hold On" - http://soundcloud.com/afternoonrecords/yellow-ostrich-hold-on

25.) Yuck - http://schedule.sxsw.com/events/event_MS14037

- amazing indie rock / alternative band. remind me of every good alt-rock band from the 90's. definitely should have a huge 2011.

"Get Away" - http://soundcloud.com/yuck/yuck-get-away

WK11 - James Blake - James Blake (9.5)

2011-03-06T17:06:00.005-05:00

Released - 2/7/11

Label - Polydor Ltd.

BLURB - Well, James Blake's full length has finally been released and let me be one of the first to tell you that it's well worth the wait. The record is brimming with progressive versatility and creativity. This album will challenge your definition of what a song should sound like. I think my roommate said it best, 'If you asked someone in 1981 what music would sound like in 2011 - they would have probably been describing James Blake.' Of course, this would be after they finished talking about flying cars for thirty minutes. Even just trying to label this collection of sounds is difficult...maybe modern pop/electronica/soul/classical/dance? Whatever it is - this is where music is headed.

Rating - 9.5 out of 10

FULL STORY - Luckily I snagged a few tickets to Blake's first ever US show a week ago, and he didn't disappoint - and the crowd was perhaps one of the best I've ever been a part of. Everyone was there for the same reason and filled with the same level of excitement and anticipation. During slower songs you could literally hear a pin drop as the crowd astutely followed his gigantic fingers across his keyboard. During the more uptempo songs you could hear random people screaming as loud as they could, 'You da man James!!!' And oh yeah...the bass. I have never heard bass like that. Unbelievable.

The album begins with the slow-building, 'Unluck' as we're introduced to a more melancholy version of James Blake. The track is filled with unique and clever percussion that will definitely throw you for a loop upon your first listen. As the song continues to grow, waves of distorted keyboards filter through as Blake digitally contorts his voice to every color imaginable.

'Wilhelms Scream' may just be one of the best songs from this millennium. The track is as complex as it is simple - the James Blake modus operandi. 'Wilhelms Scream' is extremely patient and sincere as it begins. Ambient keyboard chords and digital drums provide the ideal canvas for his lyrics:

"I don't know about my dreams. I don't know about my dreaming any more. All I know is that I'm falling, falling, falling, falling. Might as well fall in. I don't know about my love. I don't know about my loving anymore. All that I know is I'm loving, falling, loving, loving. Might as well love you."

What's great about 'Wilhelms Scream' is that each lyrical stanza is more or less the same, but the delivery and instrumentation is constantly pumping more emotion and energy into the song as it progresses. About halfway in, the keyboards are completely fuzzed out and distorted while the drum beat changes entirely - creating a sense of chaos that sharply contrasts the graceful nature of the song.

Creativity shines on 'I Never Learnt to Share.' Blake begins by looping multiple voices over the line - 'My brother and my sister don't speak to me. But I don't blame them.' Once again as the song builds, a flurry of well conceived effects transition in and out before finally exploding into an eruption of synth and bass at the 3:41 mark.

'Give Me My Month' appears to be a one-take number. It's both raw and beautiful, and on the opposite end of the dub-step spectrum that many people associate Blake with. The song features only an acoustic piano and Blake's voice, and is a great surprise to find on the album. 'Give Me My Month' showcases just how intelligent and versatile Blake is. He has the ability to effortlessly create both insane dub-step records like 'CMYK,' while also having the skill set and wherewithal to pen elegant classical pop tracks like this one.

Don't miss this bandwagon. James Blake, by far, is exceeding all of his lofty expectations and is genuinely pushing music into several new directions. His work is clever, ingenious, simple, progressive and extremely well thought out. Just listening to this debut record will serve as an eye-opener and will have music enthusiasts everywhere desperately searching for more artists like James Blake.

Have a listen to "Wilhelms Scream"

Tracks

1.) Unluck

2.) Wilhelms Scream

3.) I Never Learnt to Share

4.) Lindisfarne I

5.) Lindisfarne II

6.) Limit to Your Love

7.) Give Me My Month

8.) To Care (Like You)

9.) Why Don't You Call Me?

10.) I Mind

11.) Measurements

12.) Tep and the Logic

WK10 - Middle Brother - Middle Brother (7.5)

2011-03-06T15:59:00.008-05:00

Released - 3/1/11

Label - Partisian Records

BLURB - So what do you get when combine the frontmen of three of the most popular indie folk / rock acts in the game? Middle Brother. This supergroup (if you want to call it) is a more than entertaining side project that's been created by members of Delta Spirit, Dawes and Deer Tick. Much like their full time gigs, the music each brings to Middle Brother is a blend of acoustic folk and indie rock. You can definitely hear some of the collaborative growing pains on the record (they have only been serious for less than a year), but the majority of the tracks are not only strong but impressive. And it's these powerful tracks that carry much of the weight for the dynamic debut of Middle Brother.

Rating - 7.5 out of 10

FULL STORY - If you can take away anything from this release - it should be that music is still fun. Imagine your in a slowly rising indie band that is just beginning to break into the mainstream. Some of your best friends are also in similar bands. You guys all tour with each other. Even when you're not touring or recording, you're all great friends and spend all of your free time hanging out with each other in southern California. And you're all in your 20's. That's the life. So - the next natural progression was to supplement the careers of the members of Deer Tick, Dawes and Delta Spirit with yet another fun and exciting project where they are surrounded with each other.

I saw first official show by Middle Brother last night in Williamsburg where they played to a sold out crowd. Middle Brother headlined, with Dawes and Deer Tick opening (I'm guessing Delta Spirit wasn't on the bill as they are a bigger headliner than Middle Brother - who knows?). But the show was more or less a four hour jam session / party. Band members and guests were constantly interchanging instruments and duties. It was one of those concerts that was great to see live - you could feel the energy and positive vibes spewing from the stage. Separated from the general atmosphere of the show, was the fact that everyone on stage was a top notch musician...so when you combine these two aspects, greatness generally ensues. As it does, for the most part, on the record.

After 'Daydreaming' slowly breezes by as the record's gentle opener, the second song 'Blue Eyes' makes you realize the potential of Middle Brother. 'Blue Eyes' is some kind of indie-rock / country experiment that really dazzles the ear drums. There is a vintage rock feel to the track as it oozes with character and credibility. The tempo is somewhat relaxed, but the group does a great job of ratcheting up the intensity and energy at all the right points. Perhaps the highlight of the track, are the raw vocals provided by Delta Spirit's Matt Vasquez. That guy could sing the dictionary and it would sound amazing.

In attempt to make sure you know who they are, Middle Brother's song, 'Middle Brother' is another standout. This track once again has a slightly country lean, but is augmented by the pace and tempo with which it is recorded. Guesting on the song is Johnny Corndawg, another indie-folk artist that adds yet another interesting dynamic to the group. 'Middle Brother' is a fun and catchy song that you can really listen to any time. It's also one of those songs that you can tell was fun to record as evidenced by some of the lyrics:

"I know my days are numbered but I'm bad at math. I got a dick so hard that a cat couldn't scratch."

'Portland' is probably my favorite track on the record. There's just something about it - it's so relaxing and mellow but is filled with substance. The track is completed with great hooks and melodies, both vocally and instrumentally. John Joesph McCauley's voice (of Deer Tick) also provides the perfect rough and abrasive edge to the song's generally gentle feel.

The first single, 'Me, Me, Me' as well as 'Someday' are also noteworthy tracks on the record, with the latter almost sounding like some kind of rock interpretation of 60's motown pop. But it's not all praise and congratulations for Middle Brother. There are several tracks that seem to dampen the mood and energy of the album. 'Thanks for Nothing,' 'Theater,' 'Wilderness,' and 'Blood and Guts' are all dreadfully slow and almost certainly warrant a 'skip ahead' when listening to the album. I know every song can't sound as incredible and dynamic as 'Someday,' but that doesn't mean they have to painfully slow and static. So with that being said, there are certainly more than enough high points on "Middle Brother" to recommend grabbing the album. It's definitely worth it.

Have a listen to 'Someday.'

Tracks

1.) Daydreaming

2.) Blue Eyes

3.) Thanks for Nothing

4.) Middle Brother

5.) Theater

6.) Portland

7.) Wilderness

8.) Me, Me, Me

9.) Someday

10.) Blood and Guts

11.) Mom and Dad

12.) Million Dollar Bill

WK9 - Toro y Moi - Underneath the Pine (9)

2011-03-01T20:52:00.006-05:00

Released - 2/21/11

Label - Carpark Records

BLURB - Trying to follow last year's insane "Causers of This" wasn't going to be easy...at least in my mind. "Causers of This" was by far my favorite album of the year in 2010, and Toro y Moi instantly became my favorite artist to follow. This April I'll be seeing him for my fifth and sixth times in the last year and a half! So what does Chaz Bundick do for an encore anyway? How about this - completely leave the electronic world of samples, loops and synths and trade it in for a live band. It seems like the next logical step for Toro y Moi. Bundick became a master of creating depth, mood and ambience digitally on "Causers of This," but "Underneath the Pine" proves the musical genius of Bundick as he continues to flourish, this time with a full band backing him. Gone are the samples and glitchy beats, and in come the funky bass lines and layered keyboards of the new Toro y Moi. While his debut release still reigns supreme in my eyes, 'Underneath the Pine' proves that Chaz Bundick (and his band) aren't just a flash in the pan.

Rating - 9 out of 10

FULL STORY - I'll guess I'll start with the bad before the good. The major element that is lacking on "Underneath the Pine" is that melancholy swagger from Toro y Moi's first release. "Causers of This," although it didn't seem like it, was a very heavy, deep and personal record about heartbreak. You could almost feel the emotion through the record, and this was thanks in large part to Bundick's ability to pain pictures with his creative style of chopping and slicing ambient waves of synth against layers of looped percussion and beats, while providing sincere and vulnerable lyrics. He was pouring his heart out, but it was almost impossible to tell. The music and ingenious production was so awe-inspiring and genius, that it was easy to look past the motive. There was a clear theme to the record, and the entire album played like one gigantic song, that was filled with uncertain resolve and impossible to stop listening to. It was one of those records that had to be made at that exact time and can never really be duplicated.

"Underneath the Pine" displays a much less vulnerable Bundick. He's moved on. He's grown up. And part of this process sees Bundick moving his musical endeavors outside of his bedroom studio and to collaborations with a full band. The lonely nights of sampling beats and pouring his heart out are over. This is the new Toro y Moi.

Almost sounding like one last track to "Causers of This," the opener 'Intro Chi Chi' begins slowly and with waves of electronic synths. The song beautifully flows and transitions into 'New Beat,' kind of introducing us to the new Toro y Moi. 'New Beat' is funky, upbeat and fun, and will most certainly get you moving. The song itself has some heavy disco and funk undertones that create an infectious groove. This is interesting...I like where this is going.

'Go With You' brings a slower and more relaxed pace, but is equally impressive. The track wanders around finding several distinct niches and provides layers of depth. Lyrically, there is a continuation in themes from his debut, but a sense that he has most certainly matured:

"Get away from the woods that make you afraid. Down to the last new strands of thought. Making you a target for a fight. Give me somewhere to be, take me somewhere now. You might as well waste your time with me if you're gonna be here. I don't think I'm worth it. As a best friend I don't want to hold you down. But if there's someone better for you, I don't want to be around when you've got to go."

'Before I'm Done' is a carefully constructed acoustic ballad that is something I'd never expect to hear from Toro y Moi, and of course it's well done. The symphonic and orchestral textures gently breeze by with elegance and grace, reminding me very much of something Grizzly Bear would of concocted.

'Got Blinded' brings the energy back with a spiraling array of keyboards of hazy reverb. Just when you think the track is making you too dizzy to continue listening, the instrumentation locks in. The song brightly bounces around different tones and keys as it builds energy and momentum, continuing to show just how creative Toro y Moi is, and how many different musical hats he can wear.

The best and funkiest track of the album is without a doubt 'Still Sound.' This will easy go down as one of the best songs of the year. It's cool, it's groovy, it's fun and has such a likable quality. The bass lines and keyboard jams mesh perfectly as the song sparkles as the record's single. The fact that all of this is performed by an actual band makes the song all the more credible and authentic. I witnessed this first hand at the Mercury Lounge a few weeks ago, and the performance nearly matched the record...extremely tight. 'Still Sound' also has this timeless quality to it. You could have told me it was made in 2011 or 1977 and I would have believed you. It's just one of those songs that has instant appeal, a great sound and is fun to listen to. End of story.

So while I don't think "Underneath the Pine" tops "Causers of This," it certainly comes close. It's new, it's diverse and it has an entirely different feel - all good things. The incorporation of a full band give Bundick's musical mind more avenues and creative ways to express itself. I'm hard pressed to find a more impressive and reputable collection of two consecutive albums. Toro y Moi continues to assure us that when it comes to making innovative and creative music, he's one of the best in the business. "Underneath the Pine" is another one of those records you don't have to worry about skipping through songs - it's all great.

Take a listen to 'Still Sound.'

Tracks

1.) Intro / Chi Chi

2.) New Beat

3.) Go With You

4.) Divina

5.) Before I'm Done

6.) Got Blinded

7.) How I Know

8.) Light Black

9.) Still Sound

10.) Good Hold

11.) Elise

WK8 - Yuck - Yuck (9.5)

2011-02-28T21:27:00.005-05:00

Released - 2/15/11

Label - Fat Possum Records

BLURB - I really wanted this album to be great. There's been some ok releases to date, but nothing that overly jumps out. I had researched and featured Yuck in my 'Artists to Look Out For in 2011' article, and was more then anxious to pick up the record when it finally came out. As soon as I heard the opening track 'Get Away,' I knew this was going to be one of the best albums of the year. Yuck brings a raw and youthful interpretation of rock music that will take you back to the 90's. It's something of a fusion between grunge, alternative and pop that conjures up all your fond memories of bands like Smashing Pumpkins and Sonic Youth. The album as a whole is extremely balanced, ebbing and flowing from aggressive rock to beautifully composed acoustic tracks. What's most impressive is the maturity and talent that comprises Yuck. This album is well beyond their years, yet the oldest member is 21. Unbelievable.

Rating - 9.5 out of 10

FULL STORY - I do have some bias around this record, so you'll have to bear with me. I bought tickets to see Yuck play at Glasslands the day they were released, in what would be their second US performance ever. They had been scheduled to play at Mercury Lounge the night before, but after their passports and Visas weren't approved in time (they're from England), the show had to be cancelled...making the Glasslands show their first ever. Lucky me. I showed up around 8:30pm and sat through three awful bands that will remain nameless. Yuck took the stage around 12:30am and the crowd went nuts. They were amazing and so thankful for their first opportunity to play in the states, and since I had been there for four hours, I literally had the best spot right next to the stage. The show ended and everyone headed outside...what we didn't know was that in those five (plus) hours it had snowed 19 inches. The subways weren't running regularly, one of the busses that I could have taken home skid out and was on a side walk, dozens of cars were stuck...and it was two in the morning on a Tuesday night. Thus, the only way to get home was to walk the 1.7 miles (yes I google map'd it) in the blizzard. It sucked, but all it really did was make the night that more memorable. It will forever be known in my mind as the Yuck Blizzard of 2011.

Fast forward to a few weeks ago where I found the Yuck record at Barnes and Noble, of all places. As soon as I heard the first ten seconds of 'Get Away,' I knew this was going to be one of my most played albums of the year. The track opens with a flood of distortion and energy that weaves it's way into quite the little pop song. While the song does have a rough exterior, it's innocence and obvious youthful persona creates a mood and feeling that instantly pulls you in. The lyrics are surprisingly bright and introspective and help add a catchy element to the track, something I was not originally expecting with Yuck's music:

"Oh I can't get away. Summer sun says get out more. I need you, I want you. But I can't get this feeling off my mind. I want you, I need you."

'Shook Down' displays Yuck's mature songwriting skills as the band pens a beautiful acoustic track that will definitely turn your head. Contrary to much of their lo-fi, distortion filled material, 'Shook Down' gently flows through the speakers. The song reminds me of any number of random 90's acoustic alternative artists, but with a much more authentic and raw feel.

'Georgia' is perhaps the best track on the album. It has energy, hooks and depth. As the theme goes, the song once again reminds me of the 90's music scene. Imagine if the Gin Blossoms weren't cheesy and really kicked on the distortion. 'Georgia' is playful and gets lodged in your head, but is also delivered with force and some subtle aggression. This combination of delivering instantly likable tracks, while retaining an indie and almost 'punk' style is what makes Yuck's tracks so credible and accessible. The hooks and catchiness of their songs is almost a guilty pleasure.

When I want to get fired up for the gym or work or something, I usually throw on 'Operation.' The song is bubbling with energy and might be the 'loudest' on the record. It's so easy to throw yourself into it and just let the music and ferocity of the song take over. Despite this energy and what sounds like chaos, the track remains somewhat grounded and is something I would still consider to be catchy.

This album as a whole, should turn some heads this year. It's balanced, exciting and all too refreshing. Every time I listen to it, I feel like I'm in 8th grade listening to Bush, Smashing Pumpkins or even the first Strokes' album. There is this weird combination of youthful enthusiasm and subdued excitement on the album, which is packaged into energetic and distortion filled material; and for whatever reason, is extremely addicting. Complimenting these high energy tracks are graceful and slower acoustic songs that do nothing but showcase the band's versatility and talent. Well done...hopefully this album is the first of many.

Take a listen to 'Get Away.'

Tracks

1.) Get Away

2.) The Wall

3.) Shook Down

4.) Holing Out

5.) Suicide Policeman

6.) Georgia

7.) Suck

8.) Stutter

9.) Operation

10.) Sunday

11.) Rose Gives a Lilly

12.) Rubber

WK7 - Ducktails - Ducktails III: Arcade Dynamics (5.5)

2011-02-13T14:17:00.003-05:00

Released - 1/18/11

Label - Woodsist

BLURB - 'Man, everyone's been buying this cd lately - I don't get it. I'm friends with the one guy and even just last year he was begging me to try and find gigs for them,' said the cashier as I bought the album. Who really knows why some bands become or don't become popular. But like the cashier said, they're just now starting to get big (at least by Brooklyn standards), so I had to check out Ducktails. What I ultimately discovered was that "Arcade Dynamics" is just another over-hyped, hipster blog-worthy release that isn't anything spectacular. Musically it sounds like Real Estate meets Panda Bear and is something mindless you can listen to in the background at work, but I'm still having trouble justifying the $13.99 I paid for it.

Rating - 5.5 out of 10

FULL STORY - Most of "Arcade Dynamics" is a collection of airy and light do-it-yourself tracks, that sound like something any of my friends could have made over a long weekend. It's not this special album that so many people are making it out to be. One aspect of the record that does come off as somewhat creative is the way in which the guitars are packaged. The majority of the songs were recorded with multiple guitar tracks going on at once. This gives the music a nice texture and warmth. Despite the lo-fi production values, the inclusion of so many varying guitar lines in each song provides a great sense of depth.

What's unfortunate, is that this depth of atmosphere and mood gets lost in a sea of redundancy. There is almost no variation on this Ducktails record. So even when you come across a bright spot, it just gets endlessly repeated until you grow sick of it.

'Hamilton Road' is one of the few songs on the record that I actually haven't gotten sick of yet. The track is extremely relaxing and mellow, and you just kind of drift off as you're listening to it.

'Killin the Vibe' is what some would say, the 'single' of the album. In all seriousness, it's an OK track, but like much of the album, becomes all too monotonous after about two minutes of listening to it. There is another version of the track out there that features Panda Bear (which is much better). Why it's not on the album is beyond me. This was also a contributing factor to the hype of Ducktails. Everything Panda Bear touches usually turns to gold (see also collaborations with Atlas Sound and Pantha du Prince), so once word got out that Ducktails and Panda Bear had done a track together...basically everyone rushed out to get their hands on the album.

"Ducktails III: Arcade Dynamics" is nothing short of lackluster. If you're thinking about maybe picking it up, I'd probably advise to just download 'Hamilton Road' and the Panda Bear version of 'Killin the Vibe.'

Take a listen to 'Hamilton Road.'

Tracks

1.) In the Swing

2.) Hamilton Road

3.) Sprinter

4.) The Razor's Edge

5.) Sunset Liner

6.) Little Window

7.) Killin the Vibe

8.) Arcade Shift

9.) Don't Make Plans

10.) Art Vandelay

11.) Porch Projector

WK6 - Mister Barrington - Mister Barrington (9)

2011-02-12T17:44:00.006-05:00

Released - 1/17/11

Label - Mister Barrington

BLURB - Sometimes the best music out there inexplicably finds it's way to you. Whether it was initially a track you saw on someone's playlist, a song you heard as you walked passed a co-worker's cubicle or a great opening band you had no intention on seeing. If you're a music person, good songs and bands will somehow find their way to you - as is the case with the virtually unknown Mister Barrington. It may have been shear luck and happenstance on how I came in possession of their debut album, but clearly it's no coincidence. The record sparkles with stellar musicianship and creativity. Rarely will you find a track that is anything less than dynamic, meticulously structured or entertaining. Mister Barrington seemingly takes everything out of the pantry for this release, carefully blending jazz, electronica, funk, pop and r&b into a meal that is best served with the volume up.

Rating - 9 out of 10

FULL STORY - My roommate, who is also my co-worker, came back from lunch a few weeks ago with "Mister Barrington" in hand. He said, 'you won't believe this, but I just ran into Owen on the street and he had just gotten a bunch of these albums made - they're from some side project I guess.' So almost immediately we posted them on our shared hard drives and forwarded them around to some other friends at the office. Almost every response was, 'woah - what is this?!' That was really the question of the day. Much of the rest of the afternoon was spent analyzing this album and I think we finally settled on calling it the end result of a night of recording with Medeski Martin & Wood, John Legend, Dam-Funk, Lotus and T-Pain.

Weeks later, I'm still listening to it ad nauseam. The album is really all over the place and is constantly genre-hopping from one song to the next, while for the most part, keeping a steady foundation of laid back jazz and electronic grooves. It's extremely tough to put down, as with each listen you're hearing new sounds, effects and progressions. Aside from all of this creative chaos, what jumps out when listening to the Mister Barrington are the vocals - which are entirely crafted via auto-tune / vocoder... whatever you want to call it. So after I listened to one song, I was immediately like, 'what the hell is this cheesy auto-tune doing on here,' thinking it was just for one song.

At first I was kind of hesitant to offer the album it's just credibility due to the vocals, but I'm starting to hear how well it compliments the music. The auto-tune fad of the past decade really set hip-hop and pop music back. Instead of writing the best music they could and working with great vocals, auto-tune was used basically as a crutch to turn terrible singers into cool robot-voiced hook machines. Mister Barrington takes this auto-tune notion to a more practical approach. The band, in all seriousness, operates without any strict musical guidelines or boundaries. So it shouldn't really come as that big of a surprise that the album operates with mostly electronic voicing. Ironically, this process turns out to be a huge compliment to the music which, while heavily influenced by jazz, is filled with electronic and digital accentuations. Mister Barrington has the capacity and ability to blur the lines between not only genres and moods, but even the definition of what a song should sound like. The digital voicing allows the group to also blur what is meant to be a 'vocal' with the actual music, riffs and harmonies. The end result turns into a record that is ambitious, experimental and clever - three adjectives that every band should strive for.

For me, the second track, 'Running Away' is what really turned me into a fan of Mister Barrington. The song begins with a breezy piano introduction that reminded me of something John Legend would write. Seconds later, this ephemeral intro fades as distortion and effects build up to a head - turning into what would become the actual song. What gets spit out into the speakers is a funky, electronic groove that is immediately likable. Floods of organs establish a jazzy background while the vocals create an early 2000's hip-hop vibe (sans rapper). The drums and bass are locked tight and play off of each other extremely well - there are variations, fills and runs creating almost a conversational feel in the background of the song. As the track runs it's course, the pace, tempo and instrumentation continuously morph in and out of different colors and moods. On top of all of this, 'Running Away' has hooks and riffs throughout the verses, chorus and bridge turning the track into what I'm calling a non-traditional pop song. It's impossible not to fall in love with this song - it really has everything.

I couldn't imagine calling 'Mrs. Waters' Shopping Trip' by any other name. It's perfect theme music. The vibe is a mix of old and new school, set to a walking pace of relaxing pop and jazz. Permeating the minimal groove are tons of effects, dialogue and cool little sounds. While the main foundation of the song is gentle and airy, the instrumentation and pace vary...you can tell the track is gaining steam and momentum for some kind of powerful climax. We're teased around the 1:30 mark with a brief break that eventually turns back into the original progression. However, the song continues to build towards something and around the 2:50 mark you know something is bubbling under the surface. Finally we're met at 3:20 with the culmination of every thing the song had been moving towards - an extremely creative and powerful outro that's comprised of auto-tune vocals, a slew of more effects and background noises. What's great about the outro, is that the original progression that had been wandering around for the past three minutes is still used, but reworked into a newer, dynamic version.

'Losing My Mind' sounds like something Dam-Funk would have written. For whatever reason, this song has a real 'west coast' feel to it. I don't know what makes me say that, but it's what I'm hearing. The track has the potential to be commercial smash in some other world. The songwriting is incredibly pop yet does have some kind of tangible edge to it. The chorus and bridges have a large, full sound that engulfs the listener. It's very easy to just throw yourself into this song. One of the later bridges sees the song using many of the same riffs, but set to a steady diet of piano and even some horns. Again, this is what really makes Mister Barrington amazing - their creativity and willingness to vary the tempo, construction and instrumentation of their songs without ever compromising the song itself. Every variation or tangent they veer off on to, almost always works.

'Losing My Mind' eventually fades into 'Slippery Rail Conditions' where a silky smooth groove grabs your attention. Here it's the piano and bass that really lock in with each other. Different riffs and motifs are effortlessly bounced off of one another - showcasing the band's musicianship and precision. By the end of the track, it feels like you're sitting in some lounge listening to a great jazz open mic and everybody is clicking. The piano feels warm and inviting, as the bass maintains the groove while constantly throwing in some clever licks, courtesy of Owen Biddle.

I really don't know what will come of Mister Barrington or where they will go. Their debut album is both ambitious and adventurous, and could prove to be something of a barrier to get through. But for those that do push through and jump in, you're rewarded with each listen. Mister Barrington is that creative and fun album you've always been looking to find while digging around in someone's crate of music. You may have to throw your expectations out the window and take a risk, but it's worth it.

Can't embed it, but check out 'Mister Barrington's Daydream' here.

Tracks

1.) Place in My Mind

2.) Running Away

3.) Mister Barrington's Daydream

4.) Interlude One

5.) Wrong Number!

6.) Don't Wanna Be

7.) Mrs. Waters' Shopping Tree

8.) Interlude Two

9.) Losing My Mind

10.) Slippery Rail Conditions

11.) When I Go

12.) On a Journey

WK5 - Millionyoung - Replicants (5)

2011-02-03T14:22:00.006-05:00

Released - 1/1/11

Label - Rix Records / Old Flame Records

BLURB - I had completely forgot about Millionyoung since I last saw them play during CMJ last October. I remember the singer mentioning that they were recording some new stuff, but that information got lost somewhere in the dark caverns of my brain. For those they don't know Millionyoung, they are one of the more established DIY lo-fi electronica groups of the past year or so. Clearly, this is right in my wheelhouse of musical tastes, and their performance during CMJ was amazing. The problem though, is "Replicants" seems to be a bit of a misstep. The vocals seem 'off' on the entire album, and much of the tracks sound like throw away filler material. Granted, for the most part, the music is unbelievable. It's varied, creative and atmospheric while not straying away from the natural dance-ability of Millionyoung's sound. But the vocals and lyrics absolutely sandbag this album. I'm giving this album a 5, but I can't help but think that number would be 2-3 points higher if there were no vocals at all.

Rating - 5 out of 10

FULL STORY - In all fairness, I'm a big fan of Millionyoung. I got tickets for their Mercury Lounge show next week the day they were released. Whenever they play in my area, I'm more than likely going to their show. They're fun, have good energy and are very tight. The best part of their act, is that they really are a true band (ala the route Toro y Moi is moving in). I don't know what it is, but having a band up there with you is 1,000x more interesting than just someone with a laptop.

"Replicants" begins with a modest introduction ('Obelisk') that flows right into 'Cosmonaut.' While it does take some time, 'Cosmonaut' definitely finds some spacey grooves. The track is moderately slow, but it feels like the right tempo. It's laid back, relaxing and very breezy. As for the vocals, they are few and far between, and are basically used with delay to create more space and atmosphere to the track.

'Easy Now' showcases some of the better music on the record. Waves of fuzzy synth chords create the mood, while a great bass line, wah-guitar and some higher pitched synth lines are gelled together nicely. Then the vocals come in. You'll just have to listen to them. They completely clash against the music. They're emotionless, painfully slow and more often than not, out of key. What's unfortunate is that the music on this song is so good - the vocals completely take away from it. At the 2:19 mark, a bright collection of strings and electronica effects come in and you're just thinking to yourself...man, this should have been an instrumental.

The fourth track, 'On-On' begins with a cool vocal sample loop that eventually fades into the beginning of the song. Once again, the bass lines are incredible. They sound like something off of an 80's european dance record. Electronic keyboards and synths deliver numerous hooks and riffs that keep you invested in the song. As the song continues to grow, electric guitars emerge and they too deliver some excitement. But once again, the vocals ruin this song for me. They really serve no purpose.

The best collection of terrible vocals comes on '001.' The song begins with more of a rock lean, with furiously strumming guitars. From there a bright progression of keyboard and synth chords form over the guitars, creating a match that shouldn't work...but does. Pretty impressive. So we have all of this creativity and genre blending going on, which is turning into this amazing song - but then we also have the vocals. They're terrible. They once again completely ruin another song. There's no balance, no harmony, no tone, no enthusiasm...it's brutal.

As a music listener and a fan of Millionyoung, it's all too frustrating to try and comprehend these uninspired vocals. The music is there, the talent is there...but the vocals aren't. And two out of three is not enough to get it done. It's almost as if Millionyoung never even listened to the playback of "Replicants." All the had to do was listen to a couple of the songs, have a discussion and say, 'hey these vocals aren't working out, we really need to figure something out or take a different approach.' That's it. Until then, they'll always be the group with the awesome music and terrible singer.

Take a listen to 'On-On.'

Tracks

1.) Obelisk

2.) Cosmonaut

3.) Easy Now

4.) On-On

5.) Replicants

6.) Tokyo 3

7.) 001

8.) Forerunner

9.) Perfect Eyes

10.) Calrissian

11.) Sentimental

12.) Gravity Feels

13.) Syanthropic

WK4 - Tapes 'n Tapes - Outside (5.5)

2011-01-22T01:28:00.007-05:00

Released - 1/11/11

Label - ibid Records

BLURB - Oh what to make of this Tapes 'n Tapes? This indie-rock band has been riding an enigmatic wave of success and failure for the last four or so years. They went from being buzz-worthy, to written off as frauds, to teeming with potential to back in the dumps. Their story can be compared to a typical teenager's identity crisis in high school. Sometimes their music is hard and aggressive while other times it's soft and gentle. They are constantly working in new directions, but never know exactly where they're pointed. "Outside" is a great example of the band's struggle to find their place in the indie music scene. Some tracks feel Black Keys-ish, others are akin to Vampire Weekend - and some venture off on other random musical tangents. Their latest record has a couple bright spots, but it's still pretty obvious the band remains uncertain as to who exactly they are.

Rating - 5.5 out of 10

FULL STORY - This review may actually turn into an attack on Pitchfork, so bear with me. A few years back just as Tapes 'n Tapes was beginning to break, their latest record, 'The Loon' was acclaimed as 'Best New Music' by the music site. For those that don't know, the 'Best New Music' tag holds a certain amount of weight and influence in the industry. For many artists it's more or less a stamp of approval for an already deserving release. But for others, it's often un-merited and turns into something of a curse. Due to the alarming number of people that choose what they listen to based solely on music sites like Pitchfork, their powerful reviews can often create fraudulent fan bases and a false sense of accomplishment.

The latest example of this came with Smith Westerns' "Dye it Blonde." Smith Westerns have been a slow building indie rock band that has been subtly turning heads for the past few months (I actually gave their album an 8.5/10 a few weeks ago). It's a great record. But despite their newfound success, they were still (and are) relatively unknown by the masses. A couple weeks ago Pitchfork deemed "Dye it Blonde" as 'Best New Music.' Within a matter of days their shows started selling out and you couldn't google 'indie rock' without getting 50,000 hits claiming that Smith Westerns were the next Beatles. Maybe it's true. But where did all these fans suddenly appear from? Why do they all of a sudden (days after Pitchfork released their review) think Smith Westerns are so incredible? Have the even listened to this record in it's entirety? Are they really that familiar with their music? It's extremely curious and irritating.

And this brings us back to my theory on Tapes 'n Tapes. I really think that once some guy wrote that review on Pitchfork for them, people fell in love with the band for no particular reason. They were just blindly following their music because someone said so. And so as the years passed and people actually listened to and became familiar with Tapes 'n Tapes, they were beginning to realize they weren't as 'incredible' as some writer of a web site thought. So, the moral of the story is, have your own opinion. Music is so amazing because of how universally varied it is. Like what you like, because you like it...and that's that.

Enough rambling.

"Outside" begins with a great sense of excitement in the track 'Badaboom.' The song plays like some kind of marriage between Arcade Fire and Cage the Elephant. As the song begins the percussion, along with the music, varies and slowly builds in intensity as the track forms it's course. There is a clear sense of pace, direction and movement that provides a great sense of structure and organization. As the song progresses you find yourself becoming more invested. By the end, a barrage of furious and aggressive guitar chords form a momentous bridge/outro that will leave you sore. What a great start to the album!

So after 'Outside' we're all feeling great. This is going to be an awesome, powerful, aggressive indie rock gem. Then 'SWM' happens. All of the emotion and energy created by 'Outside' comes to an abrupt halt as you hear the sullen acoustic guitars begin to play in 'SWM.' The song is stagnant, slow and boring - never really accomplishing anything. Also, for some reason, I just find the vocals on this track annoying. I really don't know why. I can't explain it. They just seem uninspired and apathetic.

Now that we're officially on the Tapes 'n Tapes roller coaster, it'd only be fitting that they through us for a loop. The third track, 'One in the World' is a fun and ambitious track that conjures up comparisons to Vampire Weekend and Fool's Gold. Clean guitars and even some horns toss around several playful hooks and melodies that will reel in just about anyone. Aside from being a great song, 'One in the World' does raise some eyebrows. The first track was a hard hitting, aggressive indie rock daliance. The second song was basically an annoying, throw away acoustic number. And now the third song is some afro-pop adventure that, admittedly, I enjoyed. What's going on?

Sadly, but predictably, from here on out the album tends to settle into a bit of slower paced indie rock, with no real excitement or solidarity. 'Desert Plane' is repetitive, monotonous and unenthusiastic. 'Outro' (which appears in the middle of the record) is actually kind of cool. There is a distinct sense of mood and atmosphere that serves as a nice interlude and break from the album's lackluster persona. 'Freak Out' plays like the bastard child of a lo-fi punk band and Fleet Foxes. It just doesn't work. 'People You Know' is another folksy track that, but actually sounds good. The song itself is fairly anthemic. There is also some actual emotion and inspiration in the vocals that helps steer the course in the right direction, while remaining calm and airy - I'd almost liken it to something off of a Real Estate record (but more-fi). This is only to be followed by 'On and On,' what sounds like a science project that Caribou and Deerhunter concocted. It's kind of electronic, but not really...it's hard to describe. But it definitely does not fit within the confines of 'Outside,' but that being said it is pretty cool.

What you have with Tapes 'n Tapes is a constant battle of trying to figure out just who they are. For me it's too much work. It sounds like they are trying to please everyone and as a result, cover too many genres without being successful in any one of them. Their music is entirely too indecisive, cautious and unambitious. Tapes 'n Tapes might be a good listen from time to time, but they remain a band that I just can't get into.

Have a listen to "Badaboom"

Tracks

1.) Badaboom

2.) SWM

3.) One in the World

4.) Nightfall

5.) Desert Plane

6.) Outro

7.) Freak Out

8.) The Saddest of All Keys

9.) Hidee Ho

10.) People You Know

11.) On and On

12.) Mighty Long

WK3 - Tennis - Cape Dory (8)

2011-01-17T19:50:00.008-05:00

Released - 1/18/11

Label - Fat Possum Records

BLURB - It's hard not to fall in love with the earnest and charming nature of Tennis' "Cape Dory." Filled to the brim with airy pop songs that will make us all want to run out to the beach and grab a lemonade, the record plays as a soundtrack for a trip the shore, circa 1966. Mellow, washed out guitars and vintage vocals form the core of Tennis' persona, which plays off as some kind of marriage between Best Coast and Beach House. The only thing lacking on this fun and breezy album is some kind of substance or depth. Each song sounds like it was manufactured in the same mold, providing a serious lack of diversity. That being said, "Cape Dory" is a decent throwback-pop album that will definitely help take your mind off of this crappy winter weather.

Rating - 8 out of 10

FULL STORY - The back story to Tennis is a fairly interesting one. The duo (husband and wife) sold all of their belongings after college in Colorado, to venture off on an extended trip along the Atlantic Ocean, resulting in a collection of material that would turn into "Cape Dory." Initially the duo released the song 'Marathon' as their first and only single. Music fans of every genre flocked to 'Marathon' and instantly fell in love with the casual beauty and buoyant pop sensibilities of the track. From that moment on (probably Summer of 2010), Tennis has been one of the most sought after indie bands. People wanted more. What ensued was an endless underground marketing campaign that saw Tennis being featured in nearly every music blog this side of the Williamsburg Bridge. And so this past week "Cape Dory" was finally released, but not to everyone's delight. The album comes off as hurried and uninspired. Nearly every track seems to have been concocted off of the Tennis musical assembly line, making for a stagnant and repetitive repertoire. Now, all this being said - the majority of "Cape Dory" is more than enjoyable and will strike a chord with anyone that enjoys a good pop album. But I do think the hype and lofty expectations certainly did put a damper on everyone's spirits.

'Take Me Somewhere' leads off the album and lends a bright-eyed, exciting, 'the world is at our fingertips' mood. The song seems like the perfect opener for any married couple that just left college and are traveling along the eastern coast - searching for inspiration. Much of the track is laid back, floating along without any sense of direction. The music is very minimal, consisting mostly of just drums, guitar, vocals and the occasional organ. When the chorus hits the pace does pick up and finally offers some structure.

Title track 'Cape Dory,' which has seen several different variations released, is much in the same vein as 'Take Me Somewhere.' The song begins slowly and innocently before organizing into a solid beach tune. Shade of 60's pop emerge as the vocals turn into a chorus of "Sha La La's" towards the end of the track.

The widely approved 'Marathon' doubles as one of the album's best offerings. The song is constructed around a warm and infectious bass line that carries the track on it's shoulders. 'Marathon' is also one of the album's most diverse tracks. The song varies both it's pace and instrumentation constantly, keeping the listener interested and snapping their fingers. The lo-fi nature of the song only ameliorates the vintage/retro feel that 'Marathon' is soaked in. If I played this for you and told you it was a pop hit from 1965 by a surf band in San Diego...you'd believe me.

My personal favorite on the album is 'South Carolina.' The first couple of times I heard the track I thought it was boring, and didn't really do anything. But for whatever reason this song continues to grow on me. One of the reasons, in my opinion, is the strong vocal performance - as 'South Carolina' is one of the few tracks that ventures outside of a single octave of notes. The muffled and fuzzy guitars create a great sense of nostalgia that mixes perfectly with the endearing and light-hearted vocals.

Sure, I'd like the album to have some more depth and chances. I'd like there to be more variation and creativity. I'd like for every song to not sound eerily similar to the previous one. But still, as a whole, "Cape Dory" is nothing short of an impressive debut. It's an album that you can throw on, hit play and relax to. I said this about Kisses first album and I'll say this about Tennis' - it's great hot tub music. You don't have to worry about skipping ahead, or scrutinizing the music - it's a no-fuss, no-hassle collection of summer hooks and melodies that will always leave you in a better mood.

Have a listen to "South Carolina"

Tracks

1.) Take Me Somewhere

2.) Long Boat Pass

3.) Cape Dory

4.) Marathon

5.) Bimini Bay

6.) South Carolina

7.) Pigeon

8.) Seafarer

9.) Baltimore

10.) Waterbirds

WK2 - Smith Westerns - Dye It Blonde (8.5)

2011-01-09T20:26:00.026-05:00

Released - 1/18/11

Label - Fat Possum Records

BLURB - I had heard a little of Smith Westerns' music a couple months back and could tell they were going to have a decent 2011. With the indie-scene pretty much exhausting the lo-fi rock genre in 2010, someone had to come in and clean it up a little bit. Taking on that task, Smith Westerns usher in perhaps a new era, with their debut record filled with melodies, hooks and songs you can't help but sing along to. While the album still sounds a bit raw, you can't help but notice how tight and clean, yet uncompromisingly original it is. Think Ariel Pink meets The Thrills.

Rating - 8.5 out of 10

FULL STORY - The amazing thing about Smith Westerns, is that as of this date, none of the band members are old enough to drink. Hailing from Chicago, the band somehow conjures up tones, themes and colors that you'd expect to hear around a southern California beach. The album is incredibly breezy, bright and laid back - yet it also packs that veritable 'rock n roll' punch.

Opening the album is 'Weekend,' a smooth and gentle track that will casually float through your speakers before you know how great it is. Everything from the chord progressions to the charming background vocals are delivered with precision and grace. This song sounds like it was effortless to make, and it shows. Cleverly placed guitar riffs add character and balance to the song, and do a terrific job supporting the numerous hooks and melodies.

'Imagine, Pt 3' is filled with atmospheric harmonies and backing vocals over bouncing pianos. The song has a very warm and inviting feel to it. As with 'Weekend,' guitar lines puncture the song's ambient tone. The song is also broken up with varying degrees of intensity and force, giving the track a sense of diversity, rather than just allowing the music to muddle around in a haze.

'End of the Night' is packed with energy and makes for the perfect Saturday night song. The song opens with a smattering of screeching guitar riffs that flow in to the song's verse. As is the theme with much of the album, 'End of the Night,' does a great job switching up everything from the pace to the instrumentation. It makes listening to this song, and the album, exciting - as you never know what's around the corner. The lyrics tell a tale of a guys' night and convincing a girl to stay the night:

"We had fun, we didn't know what time it was. Close your eyes, oh girl, then I'll stay close. Don't know why the sun's up in the sky, close your eyes, oh girl. Then I'll stay close. Everybody wants to be a star on a Saturday night. Come with me baby and your eyes shine the sunlight. It's the end of the night, its the end of the night...are you gonna go home?"

Smiths Western's "Dye It Blonde" is filled with fresh musical perspectives and a genuine sense of excitement. As with the new year, there is a new level of intrigue and ingenuity that seems to bubbling underneath the surface of the music scene. And at the front of this wave is Smith Westerns. Fans of everyone from Ariel Pink, Real Estate, Woods, The Thrills, Surfer Blood and Dr. Dog will want to check out "Dye it Blonde."

Have a listen to "End of the Night."

Tracks

1.) Weekend

2.) Still New

3.) Imagine Pt. 3

4.) All Die Young

5.) Fallen in Love

6.) End of the Night

7.) Only One

8.) Smile

9.) Dance Away

10.) Dye the World