Skinny Puppy: hanDover - Album Review

Skinny Puppy
hanDover
Rating: Grrrr

While the heyday of industrial music has long come and gone, there are still a few bands that have kept the fires burning and have evolved and changed with the times. During the 80s and early 90s, Skinny Puppy was a force to be reckoned with; the long stretch of albums from Mind the Perpetual Intercourse, Cleanse Fold and Manipulate, Vivisect VI, and Too Dark Park, were an ever increasing batch of amazing sonic exploration. The core group of cEvin Key, Nivek Ogre, and Dwayne Goettel used each album to take their sound to the next level. It wasn't until the fractured recording sessions for The Process for this key collaboration to fall apart, ending with the drug overdose of Goettel, their chief sonic architect. After a short split, Key and Ogre buried the hatchet and began recording again, the two albums they've released, The Great Wrong of the Right, and Mythmaker, have been decent, yet somewhat uninspired, coasting on their regular bag of tricks and not really making any new statements. With their third, post Goettel release hanDover, Skinny puppy seemed to have carefully thought about the sound and direction of the album, making it a far more cohesive statement than the last two records. While it is still not anywhere near the complexity and sheer originality of Vivisect VI and Too Dark Park, this is by far their best record in years.

hanDover begins slowly and pulls you in one track at time. The slow pulsating "Ovirt" actually has Ogre almost singing, rather than his usual harsh guttural howls. The music is a combination of skittering drum programming, bubbling synths, and stark atmospherics.



The maturity continues with "Cullorblind," whose throbbing menace surrounds Ogre's haunted vocal while guitars sneak up from behind and take over on the chorus.



"Wavy," the best track on the album, merges droning synths, almost post-dubstep programming with melancholic acoustic guitars and plaintive piano. Ogre's voice, manipulated and tweaked within an inch of its life, sounding like a ghost crying from hell.



The album progresses from this rather muted opening to the middle part of the record, where the beats become more forceful and urgent, the music becoming almost martial. "AshAs" has military style drum fills glitchy electronics. Ogre's constant of refrain of "my heart can't contain the missing fragments of memories" is chilling.



The record gains momentum with tracks like the driving and intense "Icktums" and the industrial thrash and clang of "Point." "Gambatte" charges forward at an industrial pace, the pounding drums and almost jaunty keyboard riff make for one of Skinny Puppy's most ebullient tracks.



The only real missteps on the record are the horror freakshow track "Brownstone" which is just too uncomfortable and experimental, and feels out of place on the album. "NoiseX" is a laudable attempt at drill n bass sonics, but at 7 minutes, is aimless and goes on far too long for any enjoyment. But two more tracks make up for these minor issues. "Vyrisus" wears its sleazy electro on its sleeve.



And "Village" takes the mistake of "Brownstone" and turns it into some better. The growling guitars and booming vocals are truly stunning industrial horrorcore.



I didn't expect to enjoy this record near as much as I do. The songwriting is tight and music is consistently surprising and interesting. For the past few albums they have felt on autopilot. With hanDover, there is the spark of old Skinny Puppy, and I hope this breathes new life into their already stellar career.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Videos of the Week

Wow, what another whirlwind work week. And that was a lot of Ws. Here are the videos that have propelled me into the weekend:



Beautiful video for my favorite song on the new Memory Tapes album.



New song and video from Orbital. Not among their best work, but it is still nice to know they are putting out music.



Another funny video from The Black Keys.



Great track off the uneven debut from Joker.

Real Estate - It's Real from 4eyes on Vimeo.

Performance video from the amazing new album by Real Estate.



New video from proto-shoegazers I Break Horses.

Real Estate: Days - Album Review

Real Estate
Days
Rating: Woof Daddy

Real Estate's debut album in 2009 was a charming mix of low-fi, sparkling pop, which sounded like it was recorded under a freeway overpass. The lack of sonic clarity wasn't enough to derail the lovely songwriting, sweet melodies, and general air of low-key charm. The success of the album and subsequent tours brought them much needed attention which was enough to make Domino Records pony up more cash for them to record the follow up properly. Days, while lacking the ramshackle nature that Real Estate provided, is another fantastic record from this band; the increase in sonics and warmth makes a monstrous difference, allowing every note to ring clearly. Their sound has not changed much on the two years since, but has become more focused. There is hardly a misstep on this record; each song sounding like you have been listening to it for years. The familiar touchstones of early R.E.M., the Byrds, the Smiths, and Felt haunt this record, illuminating their sound rather that being a direct copy. Days is a great record for a long drive through the country, with the sweep and intimate scope of the songs providing the perfect accompaniment to a journey. There is slight, melancholic feel to the record, like the narrators are all on a journey through their pasts, ruminating over their successes and failures. It makes what could have been merely a pleasant record and elevates it to something classic and touching.

Lead track "Easy" perfectly encapsulates the mood of the record. Lovely, shimmering guitars underscore the lyrical tone of wistful remembrance of an idealistic past that has since faded:

"Around the fields we grew
With love for everyone
Those dreams we saw with eyes of hope
Until that dream was done."

Real Estate - Easy by FBi Radio

The gorgeously haunting guitars of standout track "Green Aisles" also serve to highlight the lonely lyrics about a man traveling to get home to his partner:

"All those wasted miles
All those aimless drives
Through green aisles
Our careless life style
It was not so unwise."

Real Estate - Green Aisles by DominoRecordCo

Not that the entire album is sad and melancholy. There are plenty of driving, guitar led tracks like the jaunty "It's Real" and its catchy chorus of woahs.



"Wonder Years" sounds like a long lost outtake from Reckoning.



And the lovely closing track "All the Same" utilises its seven minute run perfectly, moving from a jangly, pop opening to the lengthy coda of intertwining guitars.



But what continually draws me to the album are the more languid, searching tracks. Not much is said lyrically in any of these songs, made up more of small moments and seeming trivialities, but sometimes you don't have to say much to get the point across. The music feels minimal, but is surprisingly detailed and complex. From the longing of "Municipality" where he laments "How can I be free?/ When all I want to be/ Is by your side;" to delicate country-ish "Out Of Tune;" and the Felt-like echoes of "Three Blocks;" the collective mood and atmosphere make their weight palpable. Even the instrumental track "Kinder Blumen" has a journey-like story in its melody.

Days feels like a classic record from the opening notes. I keep waiting for the record to lose its grip on me, and with each listen it takes firmer hold. It is always a great surprise to have little to no expectations for an album and for it to blow me away. Truly the sleeper album of the year, Days is a wonderful addition to any one's music collection.

Rating Guide:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Florence + The Machine: Ceremonials - Album Review

Florence + The Machine
Ceremonials
Rating: Meh

I remember coming across Florence + The Machine in a back-handed way. The xx had not so much remixed her cover of "You've Got The Love" as had re imagined it, retaining only her wail from the chorus. Based on the short snippet that The xx used, I bought the album Lungs, and was drawn into the Gothic textures and drama of her voice and songs. It was a slow-burn of an album, full of constant surprises. I couldn't wait to tell more people about this talented woman, and was pleased to see her popularity rise. Soon, Florence was a ubiquitous fixture at awards shows, red carpets, tv shows, and commercials. You couldn't avoid hearing her even if you tried. Florence and co. didn't wait long to return with the follow up to Lungs; striking while the iron is hot. The resulting album, Ceremonials, is an epic blast of typical Florence tracks, each slowly building into a dramatic swirl of strings, harps, tribal drums, and Florence's distinctive vocals. Unlike Lungs, Ceremonials suffers from a more structured feel. Most of the songs flow into each other, with little to distinguish them, lacking the surprise of a single like "Kiss With A Fist." And at 15 tracks, it can feel bloated, and could have easily have been trimmed considerably. What struck me most about the album is how overly structured it is; to the point where almost all the songs follow the same blueprint. After listening to it several times, most of the songs flow right through one ear and out the other. What surprises me is how distinctive her songs can be when she goes outside her comfort zone. Unfortunately, on Ceremonials, she only rarely does so. But they are by far the best songs she has done.

"Seven Devils" is one of the best songs she has written. Full of measured drama, focusing more on piano and Florence's tremulous voice. It recalls the brilliance of Kate Bush, and the focus on the voice and not just swirling instrumentation is the key element.



"Remain Nameless" ditches the organic instrumentation for a throbbing electronic pulse, that really works well against Florence's earthy voice.



"What the Water Gave Me," a haunting, bluesy take on the death of Virginia Woolf, doesn't allow the music to take over the voice, which seems to be what happens on the majority of tracks on the album. And sadly, if you have the deluxe edition of the album with the demo of the song, you can see how much better she is with her voice as the sole focus.



And "Never Let Me Go," while a typical ballad for her, has a quality about it that transcends what could have been mawkish.



There are a few other tracks that are slightly more distinctive ("Strangeness and Charm," "Bedroom Hymns,: and "Shake It Out"), but for the most part, there are long stretches of time where the songs all bleed into one another, each starting with the same pounding drum track, building slowly, and then erupting into a mess of overwrought strings and harps, as if some deranged gangs of angels were having a battle royale. Opening track "Only If For The Night" provides the template: twinkling harps and and piano chords over a tribal drum pattern, and Florence's booming voice trying to keep things in check. And from there, the other tracks fall in line like sheep, and the middle of the album is a long slog through a swamp of similarity. The juke hall pianos of "Breaking Down," bland R&B of "Lover To Lover," the repetitively pounding "No Light. No Light,"



and a four song run of middling returns ("Heartlines," "Spectrum," "All This And Heaven Too," and "Leave My Body") that tests one's patience to a huge degree.



I can understand the need to capitalize on what made you popular in the first place, but to basically attempt to make Lungs Part II, with each song following the same pattern strikes me as a bit lazy. There is a distinct lack of danger or surprise on this album. It becomes wholly predictable and quite frankly boring. Few, if any, tracks stick with you after you listen to it. I am sure this album will be a huge hit, and she will be headlining festivals and stadiums soon. I just wish she had broken out of what seems to be a rut with her style. I can easily see this becoming almost a parody.

Rating Guide:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Coldplay: Mylo Xyloto - Album Review

Coldplay
Mylo Xyloto
Rating: Meh

When Coldplay brought on Brian Eno to help produce their 2008 album Viva La Vida or Death and All His Friends, he injected a bit of life into what was becoming a rather paint by numbers approach to Coldplay's sound. Coldplay are now back with Brian Eno on the boards again, and again, I was hoping Eno would spark some life in the band, challenging them to take their sound in a new direction. All the elements for such a progression are here: the album is a "concept" album about love in a dystopian future, the band co-wrote all the tracks with Eno, and they are coming off of one of their most successful records and tours. They really have nothing left to prove from a pop standpoint, so why stick in the same rut? Mylo Xyloto truly doesn't answer that question, instead, creating more questions than answers, such as why is this album curiously toothless? There is nothing specifically wrong with this album, it just has no element of surprise; content to mine from the same bag of Coldplay tricks over and over again, the tracks swing back and forth between anthemic pop tracks or scaled back acoustic numbers. And the loose "concept" of the record barely makes a dent in the proceedings. To be honest, had the PR materials not mentioned it, I never would have known there was such a thing. Only very rarely do the tracks show what might have been had they loosed up the reigns more.

"Paradise" takes the usual Coldplay anthem approach, piling on the strings and drama, but darkens things with a buzzy synth bass, which plays nicely against a nice melody from Martin.



On paper, the collaboration with Rihanna, "Princess of China," sounds like a disaster, but it ends up being one of the best Coldplay tracks ever. Over a thumping beat, shimmering synths, and shoegaze guitars, Martin's pleasant, greeting card lyrics are given some extra punch from Rihanna's more earthy delivery.

Coldplay - Princess Of China (feat. Rihanna) by DJ ERM

"Every Teardrop Is A Waterfall" has a "Viva La Vida"-like feel to it, and is completely silly, but that silliness is infectious and sounds like they are having a blast with the song.



"Major Minus" has an edgier swagger to it, mixing acoustic guitars with dirtier sounding electric guitars.



But, aside from these songs, the rest is basically Coldplay by the numbers. You have your opening track, the bright electropop of "Hurts Like Heaven," which is pleasant, but innocuous; coming across as an outtake from U2's last, abysmal release, No Line On The Horizon. In fact, the entire album sounds like an attempt to become U2. But not the brilliant, early U2 of Joshua Tree or the redefining Achtung Baby, but the middling, late period of All That You Can't Leave Behind and How To Dismantle An Atomic Bomb.

Coldplay - Hurts Like Heaven by DJ ERM

The rest of the tracks are, quite frankly, just not memorable. Too many short instrumental pieces, which are meant to push the "story" along, are more teasing, as generally the music in these pieces is far more interesting than the other fully formed tracks. The more stripped down tracks lack the beauty of former Coldplay tracks like "Fix You" and "Sparks." The melodies are just not strong enough to carry them. "Up With The Birds" langours in a pool of syrupy strings, before vainly attempting to end the song with an anthemic swell.



"Up In Flames" tries to bring in some electronic percussion to allieviate the ponderous track from its midtempo sludge of piano and Martin's falsetto.



"Charlie Brown" just sounds like a retread of "Every Teardrop Is A Waterfall," while "Us Against The World" is so sleepy it might as well be labled under Sominex.

Coldplay - Us Against The World by Mahdy

Mylo Xyloto is not a record to hate at all; there are no huge missteps. It's just the sound of band coasting. I am sure this album will be another huge success for them and they will sell tons of records and tour non-stop behind it. But, like me, if you want something a little more challenging than just a band making the same songs over and over again, I would suggest moving on to something else. This record will not be your cup of tea.

Rating Guide:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Videos of the Week

Well, that week sucked. Here are the videos that got me through it:



Gorgeous track off the new Future Islands' cd On The Water.



I'm really loving the debut album from Class Actress. Nice, breathy synth pop.



This is one of Rihanna's best new songs. Love the 90's rave vibe.



Strange video from Coldplay. I am not really loving the new album, which sounds like a U2 ripoff. But there are a couple of good songs on it, "Paradise" being one of them.



Trippy video to accompany a trippy synth/piano drone song from Oneohtrix Point Never.



I guess 90s rave culture is making a comeback.

Cant : 'Believe' from Jamie Harley on Vimeo.

Homemade looking video from CANT.



A more pop-leaning song that usual from dubstep producer Starkey. I kind of like it.

Pallers: The Sea Of Memories - Album Review

Pallers
The Sea Of Memories
Rating: Grrrr

Swedish synth-pop duo Pallers, made up of Johan Angergård (veteran of indie pop acts Club 8, the Legends, and Acid House Kings) and Henrik Mårtensson, make music tailor made for long winters; icy, haunting keyboards and forlorn, mooning lyrics, looking to the past for answers that never come. Their debut cd The Sea of Memories, while lacking in originality (the comparisons to Junior Boys will immediately come to mind), makes up for it in mood and presence. While bands like Junior Boys rely on exact precision and production technique, Pallers allows for hints of warmth and humanity to flood their songs. Angergård's voice is thin and wan, but it connects with the listener. You feel his every emotion and the weight of the past on him in the present. The songs that make up this album vary between more beat driven tracks and almost instrumental flights, that recall the urban malaise of Burial.

Some of the best entry points to this album are the pulsating "Humdrum," which bridges the gap between New Order and shoegaze. Angergård's voice is particularly fragile here, barely audible in the mix, lamenting that his lover is only in his head and not his bed.



"Come Rain, Come Sunshine" haunts with memories that provide nothing but ache and sorrow, leading the narrator to sigh "I feel like I am losing my way," while the synths buzz and swoop around him.



"The Kiss" starts from a blast of synth washes and throbbing synth bass, gradually building in intensity to a four to the floor beat. The narrator again pouring over the minutiae of a recent encounter wondering "If it wasn't a kiss
Then I don't know what it was."



Changing things up, the band employs singer Elise Zalbo on the upbeat track "Wicked," that could almost be called funky. I wished they had used her or another vocalist a little bit more on some other tracks. While Angergård's voice can be lovely, it also can be quite monochromatic.



The album isn't all beat driven, there are plenty of memorable, frosty Scandinavian mid-tempo and more experimental passages. The aching and lonely pulse of "Years Go, Days Pass" is perfectly matched with Angergård's lost boy vocal.



"Sound of Silence," is a gorgeous, fractured instrumental, that borders on the urban despair of Burial.



"Wired" sounds like awakening slowly from a dream, with snatches of memories flooding in and around you.



The Sea of Memories is not an album that hits you over the head. It is subtle and earnest, but finds a way to seep into the blood stream. As I mentioned, it is not going to win any awards for originality, it is just synthpop with a Scandinavian edge to it, but the album is infused with a warmth that belies its frosty exterior. Give this album a chance, and you will find it constantly playing in your mind. That is what the best music does.

Rating Guide:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Justice: Audio, Video, Disco - Album Review

Justice
Audio, Video, Disco
Rating: Yeah Daddy Make Me Want It

Gaspard Augé and Xavier de Rosnay, the duo that comprises Justice, obviously have a secret desire to be out and out rock stars. Their debut †, although built on house music foundations, was filtered through a rock sheen, with blaring guitars, head bobbing rhythms, and plenty of swagger. What made † such a fascinating record was that it held so many surprises; its restless energy and go-for-broke attitude made it the coolest record of 2007. From the sing-song sample of ubiquitous single "D.A.N.C.E.," the brutal implied violence of "Stress," and crunchy, proto-industrial "Waters of Nazareth," the album never failed on its promise to entertain and get bodies on the dancefloor. In the interim, Augé and de Rosnay have been experimenting with different side projects and have been keeping a relatively low profile. Now, the follow up Audio, Video, Disco is out and if you are expecting † Part 2, there is a good chance you will be disappointed. Audio, Video, Disco is an ambitious attempt to marry prog rock, hair metal, Italia-disco, classical music, and basically any other genre of 70s/80s rock you can imagine into one concise package. Whether or not you find it successful depends on your love of and or acceptance of very over-the-top styles of music. There is nothing here that can remotely be called minimal or restrained. It is as if Mozart, Georgio Moroder, Queen, Genesis, Supertramp, Def Leppard, Quiet Riot, and any number of other hair metal bands got into a vicious car crash and the doctors had to merge all the disparate body parts together. As such, it is a complete mess stylistically, however, the brevity of the record (comes in a little over 40 minutes) makes it a very compact, easy listen. At first, the lack of any standout singles along the lines of "D.A.N.C.E." or "Stress" made the album very one note for me, but multiple listens, and listening to the album more as a suite of songs, increases the enjoyment factor. There is enough here to boost Justice past the sophomore slump, however, I wished for a little more distinctiveness across the entire album.

First single "Civilization" is about the easiest entry point into the record. Thumping beats over slap bass is taken over by portentous vocals and slowed down paces before building up from a whine of guitars to a catchy, head bobbing chorus:



Title track and second second single "Audio, Video, Disco," is a four to the floor banger with only the title as lyrics, and pumped up piano rolls and whirring synths. It's a silly, in the vein of Daft Punk, song but like all good ear candy, it is hard to get it out of your head.



The rest of the album is split between bizarre instrumental mashups and more song-oriented tracks, of which the song-oriented tracks are the less successful. "Ohio" appears to combine glockenspiel with The Eagles and the drum beat from NIN's "Closer," and is as odd as it sounds.



"On'n'on" is slightly more successful, flowing over a jaunty melody, but still sounding like a combination of Yes, King Crimson, and Peter Gabriel era Genesis:



"Newlands" is likely the most successful "song" on the album, though it does borrow a little too liberally from AC/DC and Queen.

Justice - Newlands by FranklinP

Of the instrumentals, the best by far is the funky, driving "Canon" which perfectly marries crunchy guitar with an almost classical structure.



"Brianvision," on the other hand, takes the classical structure a little too far, and merely sounds like a song pulled directly from the 70s. "Parade" does what it can to make up for this, with its stuttered keyboards, "We Will Rock You" drums, and wailing guitars and chorus of voices.

Justice - Parade by tdoyle

"Helix" brings back the fun and excitement of †, putting together an interesting beat, snippets of vocal samples, and a funky synth vibe. It is truly the one time the album gets into an euphoric groove.



I applaud Justice for not just giving us † redux, however, I would have liked for them to have retained the sense of menace and unpredictability that † had in spades. Audio, Video, Disco is not a complete misstep like MGMT's Congratulations, but it does seem like a step back in way. Overall, the album is successful because the production is amazing and they keep to a recognizable template over the course of the record. I just wish there had been one or two tracks that stuck out as singles. It wouldn't kill them to wow us with another "D.A.N.C.E." now, would it?

Rating Guide:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Future Islands: On The Water - Album Review

Future Islands
On The Water
Rating: Grrrr

Over the course of now three albums, Baltimore via North Carolina synth-pop outfit Future Islands has gradually moved from synth spazz outs on Wave Like Air, to more modulated dance workouts on In Evening Air, and now progress even further with On The Water, taking their synth based template and toning things down, without taking away from what makes them so special. And most of that is due to Samuel T. Herring's vocals and lyrics. Let it be said, that the main entry point to Future Islands is Herring's voice. You will either be completely on board with it, or will want to turn it off immediately. It is grandiose, over-the-top, and steeped in drama; each word positively dripping with meaning and portent. But it is just so fascinating and gripping you can't ignore it, and it is what makes this such a great band to listen to. With On The Water, Herring has scaled things back a little bit, not from wanting to fit within what people want him to sound like, but more because the music and lyrics call for more restraint. This is serious album about disintegrating relationships, and love gone afoul, and the somber tone of the lyrics finds its way into the music, with less dancefloor oriented sounds and more moodier pieces. Although I loved the dancier aspects of In Evening Air, this new approach takes their sound and aesthetic to new levels.

The new mood and feeling comes across loud and clear on opener and title track "On The Water." Soaring synths and a mid-tempo beat hold, but can't restrain Herring's voice that swoops and growls at a potential lover, imploring "can't I be your lover tonight."



While the album is comprised of mostly mid-tempo numbers, there is always room for Future Islands' trademark dance pop. "Before The Bridge" rushes forward on New Orderesque bass lines, whooshing synths, and a rather understated vocal from Herring that gathers in intensity:



"Balance" bears the briskest pace of all the tracks, with a sprightly beat and sparkling keyboards, with another subdued vocal from Herring.



"Close to None" begins as an ambient, drone number but from the clouds of synths come muted beats and those throbbing baselines, erupting into a swirl of synths and Herring's portentous vocals, barely able for him to keep them hemmed in.



This is not to say that the less beat driven tracks are any less enjoyable. Where Future Islands in the past tended to go full throttle, it is nice to see them pare things back and allow breaks from the beats. "Where I Found You" is a lovely ballad, with a melancholic sense of loss and regret, as Herring mourns the loss of a lover, hauntingly singing over and over "I loved you, and I still do," desperately trying to hold on to the past.



Likewise, the following song continues in that vein, "Give Us The Wind" floats along on pillows of synths, with Herring's melodramatic voice imploring and wishing for something to propel his failing relationship.



But probably the one song that truly takes you by surprise is the practically acapella track "Tybee Island," with Herring's voice stripped of artiface and laid bare with emotion. Singing almost in a whisper, his reticence draws you in so you can hear him. It is quietly devastating.



With Young Galaxy, Hooray For Earth, and Neon Indian, Future Islands is helping to bring synthpop into the 21st century, making it more adult and less campy. The focus here is on the songwriting and delivery and making sure the music heightens the mood and expression of the songs. Although Herring's vocals might be off putting, their distinctiveness, in my opinion, is the draw for this type of music. On The Water is a fascinating album that I can't stop listening to, and I hope this is just a foreshadowing of things to come from this band.

Rating Guide:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Videos of the Week

More of the videos that peaked my interest this week:



One of the standout tracks on the new Horrors album. Nice, trippy video.



New track from Jamie xx, with a very strange, arty accompanying video.

Drake ~ Headlines (Official Video) from OctobersVeryOwn on Vimeo.

Drake has basically teased almost all the songs off his upcoming album. Based on what I had heard so far, I assumed it was going to be a very dark affair, like the music from The Weeknd that he appreciates so much. Nice to see there are some more upbeat tracks to look forward to.



Though Lana Del Rey sort of fits in the Adele/Amy Winehouse mold, there is something about her that seems different. I love her smoky voice.



I also love this remix of the song from Jamie Woon.



I am loving the new Future Islands album. One of the great tracks on it.



Strange video from Apparat.

Rustie: Glass Swords - Album Review

Rustie
Glass Swords
Rating: Woof Daddy

Glasgow based producer Rustie's debut album Glass Swords doesn't care if you think it is the most cerebral album of the year. The motive is not the brain but the feet, and it succeeds wildly in creating its own universe of euphoric party music. Whether you want to call it rave, grime, two-step, garage, wonky, dubstep, aqua-crunk, etc., it doesn't really matter, as Rustie barely takes a breath through 13 tracks, whiplashing through every genre possible. What strikes one the most with this album is simply the exuberance of the music, the sheer joy that emanates from every pore. Every track is packed to the gills with ideas and sounds, and each time it threatens to get too cluttered, Rustie seems to instinctively know when to pull back. There is not a dull moment or weak track on this album, and is perhaps the most exciting electronic album of the year.

There are almost too many high-points of the album to comment on. Tracks like "Ultra Thizz," which throw whiplash snares and percussion at you along with giddily building synth squiggles and vocodered vocal samples, are tailored made late night party anthems.



"City Star" mines booming bass and an onslaught of video game inspired keyboard blasts.



Rustie is not afraid to be completely goofy, stealing the Seinfeld slap bass line for the tracks "Flash Back" and "Hover Traps," but having the sense to adapt it to the songs, which stutter along with rave siren keyboards and squeaky vocal blurts.





"Surph" is all funky blurts of bass and staccato keyboards, making for an endlessly head bopping track.



Truthfully, there really are no overtly weak moments on the album. The only track that doesn't do much for me is "Globes" which is more of a transitional track between the two halves of the record. The second half the record is as good if not stronger than the first half. The double salvo of the wonky "Death Mountain" and funky "Cry Flames" bring back the forceful propulsion of the record's first half.





"After Light" takes a step into dubstep territory bringing a wubby bass into the mix, tempering things with sparkling synths and what could even be a saxophone.



The album ends on the 80s funk pairing of "Crystal Echo" and "All Nite" with plenty of keytared melodies, sunny rave vocals, and stuttered percussion.



Glass Swords is so full of energy and amazing ideas, you have to immediately replay it once it's done in order to hear something you've missed or to play your favorite track over again. It's been a long time since I have heard a record that made me want to do that. While it may not be the most original sounding album of the year, he takes familiar, tried and true sounds and finds ways to make them feel fresh and new. This album is definitely on my list for albums of the year.

Rating Guide:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Sleep ∞ Over: Forever - Album Review

Sleep ∞ Over
Forever
Rating: Yeah Daddy Make Me Want It

Formerly a trio, Austin, Texas' Sleep ∞ Over is now down to one member, Stefanie Franciotti, who firmly states she is in the witch house genre (which is still to me the dumbest name for a genre), but really sounds more like a shoegaze/dream pop hybrid. The tracks on her debut album Forever go back and forth between gauzy electronic pop songs and rather polarizing instrumentals that are long on atmosphere and menace, but short on adding anything to the mix. There is a classic EP here if you jettisoned the instrumentals, which I suppose are meant to add juxtaposition and texture to the overtly hazy feel of the record, but they are so jarring it takes away from the flow and pacing of the record. Why she would choose to make so many abrupt transitions between the song-oriented material is beyond me, as there is little to no connection between the two, ultimately turning what could have been a great album into a positively frustrating one.

The intro instrumental "Behind Closed Doors" is the only really fitting one on the album. Droning, yet shimmering, it sets the tone for the gorgeous "Romantic Streams," which features overlapping synth melodies over echoing drum beats and spacey Eno-esque ambient washes of electronics. Franciotti's voice lovely and fragile, evoking Victoria Legrand of Beach House.



After the beauty of "Romantic Streams" comes the harsh, thunderous instrumental "Porcelain Hands" which immediately takes you out of your reverie. Thankfully it is short-lived and "The Heavens Turn By Themselves" flows in on dubby percussion and angelic choirs of synthesizers and delicate treated guitars.



First single, "Casual Diamonds" takes Franciotti's voice front and center, shadowing it with tons of echo, moving the sound towards a more shoegaze territory with lots of flanged guitars and buzzy drones.



Again, though, the beauty of the track is spoiled by the following track "Cryingame" which trades gauziness in for 60s style electronic bloops and bleeps and rumbling bass; which thankfully moves into the more propulsive and dreamy "Flying Saucers Are Real" which multi-tracks Franciotti's vocals into a heavenly chorus amid pillows of synths, stark pianos, and woozy percussion.



"Stickers" takes what sounds like the drum programming from Billy Idol's "Eyes Without A Face" and pairs it will sparkly keyboards and pillow soft vocals.



And closer "Don't Poison Everything" starts off like one of her atonal instrumentals, but slowly turns into an almost electronic sounding Dead Can Dance track.



Forever shows a lot of promise from Franciotti, as long as she sticks to her strengths, which is the more song-oriented, dream pop songs. Her forays into harsh, electronic instrumentals may make more sense as a side project, as they, while having merit on their own, only choose to alienate the listener from the beauty of the other tracks.

Rating Guide:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

James Blake: Enough Thunder EP - Album Review

James Blake
Enough Thunder EP
Rating: Meh

Critics darling James Blake has steadily been releasing his take on dubstep over the last few years, sometimes to great effect (specifically his brilliant early EPs, The Bells Sketch and CMYK) and sometimes to puzzling ones (the murky Klaiverwerke EP and his rather lackluster debut album). In between those releases Blake fancied himself as a singer-songwriter, and while Blake possesses a fabulous voice, it is not well suited to his more experimental music found on the initial EPs. Aside from his lovely cover of Feist's "Limit To Your Love" and a couple of bass heavy tracks on the debut, it all sounded so muted, and quite frankly, pedestrian. Furthermore, in recent interviews Blake has been seemingly distancing himself from the dubstep genre, quite frankly making, in my opinion, very immature comments about the more commercially successful dubstep artists (such as Skrillex and Bassnectar), implying that someone it is inferior to more insular dubstep from him and acts like Burial and Mount Kimbie. It has all soured me a little on him, and what was once a promising future is looking less and less so. I have no trouble with an artist wanting to do what they want. I would rather him make music that thrills and inspires him, than just getting more and more tracks that he thinks fans want to hear. However, if he is going to pursue the singer-songwriter path, he at least should make it interesting.

Enough Thunder, his latest EP, is possibly a step forward in the right direction, putting together a mix of more experimental tracks with the vocal/minimal tracks he has been preferring lately. But still, when he chooses to perform tracks in a more minimal way, it draws too much attention to the fact that the tracks are bland. What made his cover of Feist's "Limit To Your Love" so great was the deep, wobbly bass rumble, when changed and morphed the song into something different and exciting. The lone cover here, Joni Mitchell's "A Case Of You," merely takes the guitar of the original and replaces it with piano. There is no surprise here, just a competent, serviceable cover you can hear at any piano bar.



This simplicity travels over to two other tracks on the EP. Closer "Enough Thunder," is practically a carbon copy of "A Case Of You," except in this instance the vocals are so clouded it is almost impossible to make out any of the lyrics.



And his eagerly anticipated collaboration with Bon Iver is also lacking. "Fall Creek Boys' Choir" suffers from taking two distinctive voices and over processing them to the point of lunacy, then adding a pedestrian late 80s drum machine beat at the end.



These missteps lessen the potential of the other three tracks, which really focus on Blake's strengths, the use of silence and disjointed electronic noises. The warped organs and whale sounding drones of "Not Long Now" feel like they are heading back into the murk of his traditional tracks, then at the mid-point of the track he adds a hissing drum loop which dives into a deep sub-bass and clanging percussion, elevating the track into something special.



Opener "Once We All Agree" takes icy piano chords and muted, wobbly bass to blanket Blake's plaintive wail. The track adds tension by spacing out the notes before the air raid siren drones take over the end of the track, and the bass becomes more and more distorted.



"We Might Feel Unsound" travels back to his CMYK days, grafting manipulated vocal samples to clipped beats, and really shows that this should be the direction he follows. Of course, I have a distinct feeling based on this EP and his recent interviews that he is moving more towards being the singer-songwriter outright, forsaking the genre that he initially favored. Blake is far too talented to write off completely, but by not focusing on his strengths he does himself a huge disservice. I am hoping his next full-length will prove me wrong, and he shows me that he is capable of making brilliant, inventive music again.

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Videos of the Week

Looking forward to a fun weekend. Here are the latest videos that bitch slapped me this week:



My favorite song from Friendly Fires. I am thrilled to get to see them tonight at The Loft.



Really dramatic song from Zola Jesus gets a very gothy, dramatic video.



While I am not a huge fan of the new song from Florence + The Machine (way too similar to the first album), I do like the well-shot video.



Video for Junior Boys' single "Banana Ripple."



Not a video, but a track from the debut album from Joker. Very odd song, but I love it.



New video from The Drums. Low key song gets a low key video.

Non-Sequiturs

Tampa Bay Devil Rays' catcher Kelly Stoppach. Woof!

We are all a thousand different people.

Amen.



Amazing song.

Truth!

Especially in this day and age.

I think I need to get a yard.

Something about this picture cracks me up.

Very sad that Steve Jobs has passed away. Words cannot express how his brilliant inventions have changed the entire world. He will be sadly missed.

Lyrics Rattling Around My Brain

"sleep, don't weep
throw your arms together
slide, don't lie
we always stick together

start the day
in a cold december way
feel what's new
it's december through and through

ma solituda sinks confusion
ma solituda sinks confusion
I fell down"

Catherine Wheel
"Ma Solituda"

"Here in the garden of the arcane delights,
Dark shadows overwhelm us and we become blind.
Blind to the needs of those who would be free
From the grip of fear and the prisons of the mind.

Amidst the throes of perplexity
Phobia moves amongst us, in her hand is held the seed.
Extermination angel stood beside the road
In violent retribution for the seeds we have sown. "

Dead Can Dance
"The Arcane"

"There's a gap in between
There's a gap where we meet
Where I end and you begin
I'm sorry for us
The dinosaurs roam the earth
The sky turns green
Where I end and you begin

I am up in the clouds
I am up in the clouds
And I can't and I can't come down
I can watch and can't take part
Where I end and where you start
Where you, you left me alone
You left me alone

X will mark the place
Like the parting of the waves
Like a house falling in the sea
In the sea"

Radiohead
"Where I End And You Begin"

"Silence waits,
Till it no longer,
Knows right,
From wrong.

It's reaching out,
It's reaching out,
It's reaching out.

Bursting through,
It is softly spoken.

It's staying young,
Staying young,
Staying young,
Staying Young.

Before we get to love,
Before we get to romance,
Before we've had enough,
Just give it one more chance,
Give it one more chance."

Curve
"Hung Up"

Appealing Things

The resiliency of shoegaze
"Soft As Snow (But Warm Inside)"
Friendly Fires
Winning summary judgment for a client
Getting things organized
Coming home from work everyday to Kurt, two crazy dogs, and my crazy cat.
Skinny Puppy albums pre-The Process

Annoying Things

Steve Jobs R.I.P.
Tomatoes that keep molding over before I can use them
People who are conversational black holes
People who only talk about themselves
The Process

Zola Jesus: Conatus - Album Review

Zola Jesus
Conatus
Rating: Yeah Daddy Make Me Want It

Russian-American singer Nika Roza Danilova (a.k.a. Zola Jesus) paints with a very limited palate, primarily shades of black and grey. Through two EPs and now this full length, Danilova pairs her operatic/goth vocal stylings with pummelling drum machines and swirling synthesizers, now adding touches of strings and other instrumentation. If this were the 80s, Danilova would fit effortlessly in the 4AD label roster alongside Dead Can Dance, while drawing subtly from other acts like Siouxsie, The Cure, Depeche Mode, and Kate Bush. Conatus is Latin for the philosophical belief that there is an innate inclination of a thing to continue to exist and enhance itself. With Conatus, the album, Danilova has attempted to stretch her sound, stating ""I had it in mind beforehand because I knew that's what I was going through even before I sat down to work on the record, I was already going through that emotional process of trying to push myself." While Conatus is not exactly a re-invention of the Zola Jesus sound, the subtle changes that are made are quite noticeable, as Danilova makes more use of acoustic instrumentation instead of relying solely on electronics.

Tracks like the two closing tracks, "Skin" and "Collapse," use stark piano and ghostly strings, respectively, to add color and dimension to the monochrome palate. The warmth of the music adds a human touch to Danilova's voice, which can be almost overwhelming in its strength and power.





Conatus is a monster of a record, sounding big and taking lots of risks in being so overt; to the point it can be a little too dramatic. After a brief instrumental intro, Danilova kicks right into the forceful building of "Avalanche," which is propelled by thumping drum machines, choirs of synthesizers, and her booming alto.



Likewise, first single "Vessel" is similarly melodramatic and haunting. Stark piano chords pound in between shards of synth drones, drawing comparisons with Fever Ray's icy sounds.



There is a melancholy, dark undertow to Conatus, with little room for humor or even a ray of light. Occasionally, there are small cracks in the dark exterior. From the string swells in the dramatic "Hiikikomori,"



rolling piano trills in the gothic blues of "Lick the Palm of the Burning Handshake,"



or the squiggly electronics burbling under the surface of "Shivers."



Conatus is fairly consistent across the board; I don't think there is even one song on the album I don't enjoy. However, that consistency comes across more as blandness than really strong songwriting. There are no standout singles on the album, or something to really grab your attention. When you listen to the album as a whole, the songs play well together as a cycle; divorce them from each other, and they are just pleasantly dramatic. This is not going to be her breakout album, unfortunately, but it is a good base form which to take her sound to another level. Zola Jesus has been one to watch in 2011, and it looks like it will be a little longer until we get something amazing from her.

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Modeselektor: Monkeytown - Album Review

Modeselektor
Monkeytown
Rating: Yeah Daddy Make Me Want It

Berlin duo Modeselektor (producers Gernot Bronsert and Sebastian Szary) suffer from an interesting dilemma. Like me, they have a passion for a wide range of electronic music genres, and never like to be pinned down to just one. While it suits me as a listener quite well, for a musician it can come across as slightly schizophrenic and disjointed, unless of course, there is something that ties everything together like a certain mood, theme, or lyrical conceit. Borrowing equally from hip-hop, techno, bass music, IDM, glitch, rave, synthpop, and house music, Modeselektor are always keeping the mix interesting, keeping the listener on their toes. Like recent releases from SBTRKT and DJ Shadow, this relentless genre hopping does have its limitations, coming across more like a haphazard mixtape than a true album of related material, however, that doesn't preclude the fact that this is an excellently produced record with way more highs than lows.

Modeselektor utilize a lot of different collaborators, but instead of having them overshine the material, they are seamlessly integrated into the tracks. Probably the best know collaborations are with Thom Yorke, whose vocals are cut up, processed, and used almost in the form of an extra instrument. The skittering "Shipwreck" basically buries Yorke's vocals deep in the mix.



"This" turns Yorke's voice into an ominous warning siren competing with the dark, sinister beats and bass.



They also play with humanizing the vocal tricks, developing Miss Platinum's vocals on "Berlin" from cut-up pastiche to silky, sultry harmonies over electro-R&B beats.



The collaborations that are less successful are the more hip-hop leaning tracks, which standout like a sore thumb. The droning, squeltchy "Humanized" with rappers Anti-Pop Consortium never gets off the ground, and Busdriver rapped "Pretentious Friends," while humorous and features some inventive vocal distortions, just doesn't really fit in the context of the record very well.



To me, the most successful tracks lean more more towards IDM, beat music, or bass music. Opening track "Blue Clouds" takes a million side roads during its 6 minutes, but always retains a warm, radiant buzz.



"Evil Twin" heavily works an industrial-electro meets techno beat.



The dramatic, lurching stop-step of "Green Light Go" merges in some real life drumming courtesy of PVT, which adds a more organic, human element to the dense electronics.



Monkeytown is a fun little record that always reveals new details with each listen, but suffers some from lack of focus. The endless genre hopping feels like whiplash towards the end. Also, the pacing of the record is slightly off; the front of the record is stacked with the most mobile tracks. After the halfway point, things slow down considerably and the album ends more with a whimper than a bang. But if your taste leans towards more eclectic offerings, Monkeytown is definitely a record to check out.

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Bjork: Biophilia - Album Review

Bjork
Biophilia
Rating: Yeah Daddy Make Me Want It

bi·o·phil·i·a: (n.) An appreciation of life and the living world.

Bjork's latest album is a collaboration with Apple, providing iPad apps for each of the album's 10 tracks. As I don't own an iPad, I can only react to the music as is. Whether or not the apps provide better illumination is not really my concern, as I am sure Bjork wants the music to stand on its own. So I am going under the assumption that the apps only enhance the songs rather than make it essential to get the songs' full impact. Biophilia is not likely, at this point, to change any one's opinion of Bjork, it's a Bjork album, pure and simple, drawing more from her Vespertine and Medulla periods. Mostly hushed and quiet, laying a foundation for Bjork's war cry vocals, the tracks are generally beatless, choosing to use unique instrumentation such as her combination gamelon and celeste, giving the record an Asian feel to it. And true to the name of the album, Biophilia is awash with nature imagery, drawing comparison between love and natural processes. While this could have down turned into a laughable new age screed, Bjork wisely keeps things, mostly, in check, and draws interesting parallels and connections.

Biophilia works best when Bjork pushes the envelope on the music. The fascinating "Thunderbolt" begins with plaintive organ drones, combining choir backing vocals along with blasts of analog synths and muted beats. The lyrics comparing love's spark with a lightning strike.



First single "Crystalline" merges gamelan with shuffling beats, until it all descends into a frenzied drill n bass coda.



Perhaps the loveliest song is the gorgeous "Virus," which could easily fit snugly on Vespertine, with its pitter-patter beats and music box instrumentation. Love again is compared to a virus attacking a cell, the host unable to withstand the battle.

Virus. Björk. Biophilia. by Daniele Zambelli

"Mutual Core," a track produced by 16 Bit, is another droning organ opener that adds burbling electronics, exploding with Bjork's siren vocals and a dense, industrial clatter of programmed beats.



"Sacrifice" follows a similar theme, opening with hymn like gamelan, then releasing Bjork's furiously strident vocal over buzzing percussion.



Unfortunately, the middle of the album hits a snag with a trio of songs that suck all the momentum out of the record. "Cosmonogy" continues Bjork's obsession with horns and strings and angelic choirs, that tips over the line into schmaltzy Disney territory. "Dark Matter" is a droning, almost atonal piece, that is akin to the backing soundtrack for Dark Shadows. While "Hollow" even takes it to the next level, working in a circus Calliope motif throughout the track, which just grates on one's nerves.



Biophilia has some amazing tracks on it, and I appreciate how Bjork tries to always take risks with her music. Unfortunately, there is a bit of stagnancy with the album, as it draws too many comparisons with other periods of her music. But, being Bjork, she is only doing what she wants, and those that want to follow can, or choose not to. Bjork has a special place in my heart, so I will always follow her, but I am still waiting for her next classic album. Neither Medulla, Volta, and now Biophilia are anywhere near the apex of Vespertine, Post, and Homogenic. I guess I am just going to have to wait a little while longer.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.