Mouse On Mars - "Polaroyced" Video

Here is your fun for the day. The new glittery, gold, dancing freak, cute dog video from Mouse On Mars. It will put a smile on your face.

Jam of the Day: Katy B - "Witches Brew" (Diplo Remix)

Great track off the Katy B album gets the Diplo dubstep treatment.

Young Magic: Melt - Album Review

Young Magic
Melt
Rating: Yeah Daddy Make Me Want It

The art/world-rock trio Young Magic recorded their debut album Melt in over 10 different cities, including Rio De Janeiro, London, Antwerp, Rome, Berlin, and Mexico City. Although this sounds like a recipe for a mess of in congruent styles bashing into one another, Melt actually is tighter focused than that, acting as a sponge, absorbing the different sounds and flavors into a strikingly coherent package. Melt is also an apt title for the record, as the sonic structures feel liquidy, diffuse, and shimmering, as if the recordings are disintegrating upon each listen. Within the record you find allusions to shoegaze, Animal Collective's synthrock hybrid, the worldbeat textures of Yeahsayer, and countless other influences from their worldwide travels. It is a dense, clattering mixture of sounds that can be overwhelming at times, aimless and unstructured, but also intensely hypnotic, beautiful, and intoxicating.

The tracks on Melt are built upon layer after layer of intricate sound, and when put together just so the results can frequently be dazzling. Tracks like opener "Sparkly" layer guitars over multitracked vocals, lush synths, and interesting combinations of percussion. In this case, what sounds like milk pails being struck, and shuffling, stomping boots on dirt. Each layer working seamlessly with the other, no one element overshadowing the next.



"Slip Time" finds the band merging burbling/buzzing electronics, twisted and manipulated samples, with mantra-like vocals and a Brainfeeder style beatscape.



And on standout track "You With Air," the dense melange of bouncy, buzzy, and Middle Eastern sounding synths bumps into and around with thumping beats, hip-hop style vocals, and a crowded background of samples. The finale of the song is a brilliant master class in how to have what seem to be a million balls in the air stay in movement without a crash.



Their indebtedness to Animal Collective comes out with the gorgeous lushness of "Night On The Ocean." Soaring waves of synths crash and moan over a booming bed of drum programming, with the intertwined vocalists darting in and out of the hazy mix.



"The Dancer," swirls and mesmerizes with its intricate play of sputtering percussion, heavily reverbed vocals, and samples.



But they also find time to calm things down, like on the meditative lullaby of "Drawing Down the Moon," whose calm is only hurried along over a shuffling beat pattern.



The complaints I have with the album are that there are far too many instrumental, interstitial tracks like "Yalam," "Calvary," and "Watch For Our Lights," that, while sonically interesting, don't add much to the overall album. Had the tracks been utilized as signposts for when a different style of track was approaching, it might have made some sense, instead they act more as speed bumps, taking you out of the flow of the record. And some tracks, like "Jam Karat," get a little too fussy for its own good.

It has been commented that Melt's sound is a little too similar to bands like Yeahsayer and other bands that use a more world-music based template. The comments are valid to a point, as while the bands use a similar starting point, I think it is safe to say Young Magic put their own unique spin on things. Melt is a gorgeous album of dense, hypnotic tracks that will beguile and transfix you.

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.

Gorillaz - "DoYaThing" Video

Here is the official video for the Gorillaz track "DoYaThing" featuring Andre 3000 and James Murphy.

Coachella 2012 Countdown: 44 Days! Swedish House Mafia - "Antidote (collaboration with Knife Party)"

Not a huge SHM fan, but when they hooked up with Knife Party, I was more interested. Love this track. Just wish Knife Party was going to be hitting Coachella this year.

Future of the Left: New Single and Video for "Sheena Was A T-Shirt Salesman"

Awesomely crazy video for the new single from Future of the Left. It's on their upcoming album The Plot Against Common Sense out in May.

Jam of the Day: Scuba - "The Hope"

The build on this track is sick.

Radiohead Debuts Two New Tracks On Tour Opener

Radiohead started off their 2012 The King Of Limbs tour in Miami last night with a set heavy on tracks from The King Of Limbs and In Rainbows. Sadly, no tracks from The Bends, and of course, no "Creep." They did debut two new tracks, however, "Identikit," and "Cut A Hole." Both can be seen down below.





They also played the track "Meeting In The Aisle" live for the first time ever.

Sinead O'Connor: How About I Be Me (And You Be You)?/The Cranberries: Roses - Album Reviews

Sinead O'Connor
How About I Be Me (And You Be You)?
Rating: Meh

The Cranberries
Roses
Rating: Jeez lady

I'm not really huge on double reviews, unless there is really some good reason for them. In this case, there really isn't any outstanding reason other that both Sinead and The Cranberries are from Ireland, both singers have similar vocal styles, both had their greatest successes within the same time frame (late 80s to early 90s), and both are now returning with new albums. While those connections are not blindingly important, in listening to both records concurrently, I noticed that each had its very noticeable flaws, but for pretty divergent reasons. Which sort of led me to listen to both more closely to see why one approach worked for one, while not working for the other, and vice versa. And why artists continue to mine periods that were their most fruitful and never seem to budge outside of those confines. What purpose does it serve? Certainly there is a slight nostalgia element at play, but is there really a resurgence of early 90's alt-pop that suggests their new albums will have anything valid to say?

Sinead of course is well known for her first two brilliant albums, the shockingly forward mini-masterpiece The Lion and the Cobra, and the more pop leaning I Do Not Want What I Haven't Got, with the ubiquitous cover of the Prince track "Nothing Compares to You," whose success apparently tipped Ms. O'Connor over the deep end, causing her to alienate the fans she had gained. Subsequent albums ran the gamut from vanity projects (her collection of covers Am I Not Your Girl?), to overwrought and bloated offerings (Universal Mother and Faith and Courage), up to inscrutable segues into reggae and Irish folk songs. Of course, all of her bizarre behavior, getting married and divorced, becoming an ordained minister, coming out as a temporary lesbian, to getting married again and separating several days later might have added to the effect. With her 9th studio album, the clumsily titled How About I Be Me (And You Be You)?, she sort of attempts to brush off the talk of her being crazy, and while she still has the pipes that brought her such great, initial success, and her songwriting still has some meat to it, the musical direction, so breathtaking on The Lion and the Cobra, is limp and placid, and some of her lyrics find her hopelessly dated and out of touch.

There are a handful of tracks on the album that point back to the Sinead of old: razor focused lyrics, subtle sense of humor, pointed political beliefs, with the music to back them up. "Old Lady" takes aim at herself as this serious, dour person, singing that when she's older she'll not be so serious, and "laugh like an idiot." All the while backed up by fuzzy guitars and an upbeat rhythm section.



"The Wolf Is Getting Married," perhaps her best song in years, indicates she's more than self-aware of her rather feral persona, but that she believes everyone has a second chance at redemption.



"I Had A Baby," a love song to her child, worrying it will be judged for her behaviors, is a rousing track full of ringing guitars. And "Back Where You Belong" which shows Sinead has lost none of the force and power of her tremendous vocals.



But these flashes of her former strengths, are all but muddied by the remaining tracks which are short on musical adventurousness, and lyrically lazy. The jaunty reggae of "4th and Vine" is dashed with lazy rhymes like "not that he's no wuss/girls, you know his love is serious." And sings about a buggy ride with absolutely no irony or double entendre. "Take Off Your Shoes" fumbles the best backing track she has had in ages with goofy lyrics referring to, of all things, the Energizer bunny. But worst is the final track "V.I.P.," a well-meaning track that attempts to skewer celebrities that invoke God when accepting awards and accolades, but don't make a stand when children are being raped by priests. The lyrics, instead of being pointed and current, merely sound like a rehash of former tirades from the singer, with outdated references to "MTV" and "bling."

The Cranberries face a different set of issues on their 6th album Roses, their first in over 10 years. I admit I actually love their first album, Everybody Else Is Doing It, Why Can't We?, with its subtle take on Cocteau Twins/Sundays style dream pop, featuring Dolores O'Riordan's beautiful Irish lilt. The songs were your average take on young love and relationships, and succeeded by not being overly ambitious or pretentious. Of course, when success hit them, they suddenly decided they wanted to be U2 and take on the world. While No Need To Argue had several decent tracks, they bit off more than they could chew with tracks like "Zombie." Further releases saw them getting more and more bombastic and self important. Thankfully, Roses is a far subtler album than those last LPs, returning to a more grounded set of lyrics about relationships again, and going for a more sunny, Sundays kind of vibe throughout. Musically, the album is full of sprightly, clean sounding guitars, albeit coming across a little more bland than usual. Producer Stephen Street, who knows how to buff and polish a track to perfection, does them a slight disservice by making things so pristine. A little more rough edges would have added significantly to the album. Unfortunately, O'Riordan's lyrical ability cannot be so spit-shined by Mr. Street, and too often the mind is left reeling by the simplistic rhyme schemes and turgid metaphors.

The band is most successful when they keep things simple. "Fire and Soul" is one of the best tracks they have written. The verses feature a lovely bed of acoustic guitars, light electronic percussion, and piano, O'Riorden's voice a hushed whisper, all coming to life on the gorgeous chorus.



The mourning strings and lonely, reverbed guitars of "Waiting in Walthamstow" perfectly fit the mood of the track. And first single "Tomorrow" has a lovely, brisk Sundays-like beat and jangly guitars; which recalls their first album..



Unfortunately, the rest of Roses is a mixed bag of either intriguing instrumentation marred by simplistic lyrics (seriously, sometimes it seems like O'Riordan can't get out of the A/B/A/B rhyme scheme), or decent lyrics upset by plodding music. "Raining In My Heart" shuffles along practically inert, with couplets like "But it's raining in my heart/ Every time we are apart/ And the sun won't shine today/ So I had to walk away." Seriously?



"Losing My Mind," which musically is a pretty strong track, especially on the chorus, is again marred by teenager diary lyrics such as "Sitting here beside the fire/ The flames they grow just like desire."



And it just gets sillier from there. "Schizophrenic Playboys" I assume is some cautionary tale about women being taken advantage of by men, but when the lyrics don't get any more insightful than "Driving faster now in his car/ Now she knows that she has gone too far/ In the morning she is in his bed/ His bed, his bed, her eyes are red," you end up just shaking your head.



After listening to both How About I Be Me (And You Be You)? and Roses, I was really left with no true feelings whatsoever about either album. In O'Connor's case, the record does not really add to her catalog, but merely shows she is still a capable artist that can still put out strong songs when the mood strikes her. Her voice is in great form, but the flow of the record and presentation is just too muted for it to truly shine. The Cranberries quite frankly suffer from lazy songwriting; O'Riordan's voice is still lovely and gorgeous, and musically they are a competent, if not overly adventurous band. It is just really hard to get around the truly awful lyrics. Neither album will sink them or really burn up the charts, but even more damning, they will likely go by unnoticed.

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.

Coachella 2012 Countdown: 45 Days! GIRLS - "Lust For Life"

I saw them at Coachella 2010 and was expecting a train wreck of a show, but they surprised me and put on a very professional set. I was kind of hoping for a little bit of a train wreck though.

Crocodiles: New Single "Sunday (Psychic Conversation #9)"

From the upcoming sophomore album from San Diego band Crocodiles, here is the first single, which still sees the band idolizing The Jesus and Mary Chain just a little too much.

Jam of the Day: Bear In Heaven - "Reflection of You"

First single off Bear In Heaven's upcoming album, I Love You, It's Cool, is a typically synth charged number for the boys. It has a very nausea inducing video though. Might want to take some Dramamine.

Lamb: 5 - Album Review

Lamb
5
Rating: Meh

Lamb, the duo comprised of multi-instrumentalist Andy Barlow and vocalist Louise Rhodes, were one of the first bands in the late 90s to make a go at marrying more traditional song structures/vocals to techno and drum and bass tracks. Finding a mid ground between the noir balladry of Portishead, the cutting edge experimentation of Maxinquaye-era Tricky, and the true pop of Sneaker Pimps and Everything But The Girl, Lamb were like your quirky cousin at Thanksgiving dinner that you never quite knew what they would say or do. Lamb's self-titled debut was almost restlessly experimental, featuring some pretty insane, broken beat compositions for traditional pop music, and yet it all was grounded by the husky, inspired vocals of Rhodes, who came across like a techno blues godhead at times. Tracks like "Cotton Wool," "Lusty," and the gorgeous "Gorecki," were stunning singles that solidified their reputation as a band to look out for. Follow up Fear of Fours, was a slight retreat from the treasures of Lamb, focusing a little too heavily on Rhodes voice and not backing it with anything truly satisfying. By 2001's What Sound and 2003's Between Darkness and Wonder, Lamb had essentially shot their proverbial wad and were shooting blanks. The musical landscape changing from the experimentation of drum and bass to less vocal driven genres like dubstep, 2-step, and funky, leaving Lamb nowhere to really go. Having thought them disbanded, they have now released their 5th album (originally released spring of 2011 in the UK and here via download; it is now getting a proper physical release here in the US), simply titled 5, which begs the question, what type of Lamb are we getting? Unfortunately, it is difficult to say. While 5 has some memorable tracks, for the most part it is rudderless and schizophrenic. Bouncing from semi-experimental electronica experiments, traditional pop songs, folk-esque tunes, fuzzy guitar tracks, and many different hybrids in between, it is difficult to get a foothold with the album, even though Rhodes' voice does tie things together very nicely. In fact, I would say the one standout thing about 5 is the total control she has over her voice, never becoming too overwrought as she has done in the past.

Of course, as always, the tracks that stand out for me are the more restless tracks. Lead off track "Another Language" had me scared initially, starting off with bland, new age keyboards, but eventually, as Rhodes voice glides along the programming, the percussion gets weirder, the keyboards squeltchy and wet, dark synths rise from underneath.



"Butterfly Effect" haunts with discordant electronics burbling, playful drum programming, and a quiet vocal that strangely descends into a weird chorus of "la la la's" that somehow works as a counterpoint to the sinister nature of the track.



"Last Night The Sky" begins solely with Rhodes' commanding voice, adding vaguely Asian keyboards and percussion, which leads to a late song swirl strings and pounding drums.



But aside from these tracks, the remaining numbers ping pong back and forth from one style to the next, never really achieving anything transcendent. "Build A Fire" attempts to add fuzzy/crunchy guitars to the mix, and just seems ill advised.



"Existential Itch" contains dated electronics that peg it directly from the 90s.



And there are several Goldfrapp-ian electro-folky numbers that, while focusing on Rhodes' gorgeous voice, musically are not interesting enough to maintain interest. "Rounds" meanders under a almost soporific musical bead of burbling synths and plinking guitars. "The Spectacle," meant to be the "important" track on 5, again highlights her voice, but the pianos are practically inert. And most egregious is the stunning banality of Lamb's collaboration with Damien Rice, "Back to Beginning," which comes across more silly than filled with portent.



Admittedly, I didn't have high hopes for 5 when I first starting listening to it. While I was pleasantly surprised by a few of the tracks, the lack of any through arc (lyrically or musically) or any sort of experimental playfulness made the album, by last track's end, feel like an effort. It is never a good sign when you think you are near the end of a record and you realize your are merely halfway through. As my friend Adam mentioned, what you have here is a good EP's worth of material trapped in a bloated whale of a record. If you like the less ambitious records in Lamb's catalog, I think you will most likely appreciate 5. For me, I still long for the weird days of "Lusty" which was only vaguely hinted at here.

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.

Oscars 2012

Once again it is Oscar time, and this post is a result of my live-blogging during the event. I thought about going the twitter route, but it ends up being far too annoying for everyone involved, so a nice wrap up post is usually the best way, at least for me, to go forward. Movies used to me a total passion for me, and I even considered going to film school at one point. I used to see all the nominated movies and really get into the awards, but as I have gotten older, and movies have really changed, including the experience of going to them, my interest has faltered. Of the ten movies nominated for best picture, I only saw two. If my 25 year old self saw that sentence he would have been mortified. But still, I dutifully watch the Oscars, even when I really have no vested interest in it.

So, here is a collection of my comments, views, snark, and what-not. Enjoy.

The Red Carpet

Milla Jovavich is looking stunning in an Elle Saab gown.

I love Melissa McCarthy, and I know she is a woman of size, but do they have to keep dressing her in these drab gowns?

Rose Byrne looks like she's wearing a sparkly Hefty Bag.

George Clooney is always swoon worthy, though his girlfriend Stacy Keibler looks like a female version of the Oscar in her gold gown.

Jessica Chastain looks amazing in a Alexander McQueen.

Viola Davis looks so much better with natural hair. And is rocking that Vera Wang green dress.

Rooney Mara looks fabulous in white Givenchy.

Michelle Williams' looks a little lost in that dress.

Who is the hunky guy with Octavia Spencer? Oh, it's Tate Taylor the director of The Help.

The Sasha Baron Cohen The Dictator gag got tired fast, but spilling "ashes" on Ryan Seacrest was pretty amazing.

J. Lo looks like a Vegas showgirl/hooker.

Emma Stone looks cute, though, I am not too sure about that bow.

Bradley Cooper, I hope that horrible mustache is for a film role.

Gwyneth looks pretty amazing in the Tom Ford outfit.

Glen Close looks like a mermaid and a footman collided.

Sandra Bullock. Love the hair. Dress, not so much.

The Ceremony

These Billy Crystal openings are still tired as always.

And I did not need to see George Clooney kiss him.

Carl Swebo. Rocking that suit.

Best Cinematography

Hugo

Didn't see it. Would have given it to The Tree of Life.

Best Art Direction

Hugo

Would have given it to Harry Potter.

What is up with the Oscar hootenanny band?

Directv chose the wonderfully inopportune time to go out in the middle of the Oscar telecast. Joy.

Best Makeup

The Iron Lady

Best Costume Design

The Artist

And apparently, I missed J Lo's nip slipping out her Vegas showgirl dress.

Best Foreign Film

A Separation

Christian Bale needs to stop with the all black ensembles.

Best Supporting Actress

Octavia Spencer

Awww, how cute was it when Tate Taylor helped her up the steps?

And very cool them playing Massive Attack's "Safe From Harm" afterwards.

Best Film Editing

The Girl With The Dragon Tattoo

Yay! Should have won and did.

Best Sound Editing

Hugo

I would have given it The Girl With The Dragon Tattoo.

Best Sound Mixing

Hugo

I would have given it The Girl With The Dragon Tattoo.

Best Documentary Feature

Undefeated

Best Animated Film

Rango

Didn't see any of them, so I suppose it's as good as any of them.

Emma Stone is hysterical. Love her.

Best Visual Effects

Hugo

I would have easily given it to the brilliant effects in Rise of the Planet of the Apes.

Melissa Leo's dress looks like it's from Dress Barn.

Best Supporting Actor

Christopher Plummer

Yes! About time he won the award. Oldest person to win an Oscar.

Penelope Cruz looks lovely in that blue-gray dress.

Best Original Score

The Artist

I just wanted anyone other than John Williams to win.

Best Original Song

The Muppets

Angelina Jolie is showing off some leg.

Best Adapted Screenplay

The Descendants

Yes! What I wanted to win.

Best Original Screenplay

Midnight In Paris

It was what I picked, so I am happy.

Milla Jovovich still looks amazing; very old school Hollywood.

Best Short Film Live Action

The Shore

Best Documentary Short Subject

Saving Face

Best Short Film Animated

The Fantastic Flying Books of Mr. Morris Lessmore

Best Director

Michel Hazanavicius

Congrats, I would have picked Terrance Malick. But Michel is rather hot, so I will let him pass.

Best Actor

Jean Dujardin

I would have given it to George Clooney

Colin Firth, super swoon.

Best Actress

Meryl Streep

Love her. Just amazing that she has 3 Oscars now.

Best Picture

The Artist

Coachella 2012 Countdown: 46 Days! Frank Ocean - "There Will Be Tears"

Though I am not a huge fan of Odd Future, I do enjoy Frank Ocean, who is their one member that is strictly R&B. His mixtape nostalgia.ultra is a wonderful set of tracks focusing on his smooth voice. "There Will Be Tears" is a standout track on the album. Although it looks like he'll be playing during a time of heavy conflicts for me, I would like to check him out.

Classic Track: Lamb - "Lusty"

I'm reviewing the new Lamb album 5 this week, and it brought me back to this track off their debut. It was one of the first tracks that really married experimental drum and bass with a singer/songwriter approach. I only wished the band had continued on with a more experimental bent, instead of reverting to rather tired pop songs. As it stands, "Lusty" is a behemoth of a track with lots of off kilter drum programming and Louise Rhodes phenomenally muscular voice.

Jam of the Day: Knife Party - "Internet Friends"

"You blocked me on Facebook/and now you are going to die!"

Coachella 2012 Countdown: 47 Days! Calvin Harris - "Feel So Close (Nero Remix)"

It's kind of embarrassing that I really had never heard of Calvin Harris until his track with Rihanna, "We Found Love." Most of his output is pleasant electro-house with a more pop bent. I actually like the original version of this song but think the Nero remix adds a little more to it. Enjoy.

Post-Punk Flashback: Simple Minds - "Changeling"

I've been listening to the first 6 albums from Simple Minds that have been recently reissued and remastered. The amazing thing about listening to these records is how good the band really was until they got a little too caught up in the whole "we must be bigger and better than U2 thing." I especially love this quirky song off their album Real to Real Cacophony, with its fuzzed out synth lines, chiming guitars, and almost disco beat.

Jam of the Day: 501 ft. Belle Humble - "Headrush"

Digging this track. Awesome drops.

Coachella 2012 Countdown: 48 Days! Zed's Dead - "Adrenaline"

Some sick wubz.

Spiritualized - New Song "Hey Jane"

Spirtualized's new album Sweet Heart Sweet Light comes out in April, and the album cover (up in the video clip) is bafflingly weird. "Hey Jane" is the first song on the record and it is typical Spiritualized: long, droney, spacey, and has a choir in it. By this point, I don't think we are going to get anything revolutionarily new from them, no dubstep breaks or hip-hop guests, so if you like the same old same old, here it is.

School of Seven Bells - "Lafaye" Video

Standout track from School of Seven Bells' latest album Ghostory, has a suitably ghostly video to accompany it.

Jam of the Day: AlunaGeorge - "You Know You Like It"

Currently, my huge obsession. Love their mixture of 90s R&B with current UK bass music touches. This song will be very difficult to get out of your head. I predict big things for these guys.

Perfume Genius: Put Your Back N 2 It - Album Review

Perfume Genius
Put Your Back N 2 It
Rating: Woof Daddy

Seattle songwriter Mike Hadreas (a.k.a. Perfume Genius) burst onto the music scene a couple of years ago with the haunting and stark collection of piano ballads called Learning that were so intimate you could hear his feet on the piano pedals. Lyrically, the album was full of confessional tales that spoke honestly and openly about the singer himself, and were almost harrowingly personal. After a period of isolation due to some trauma and self-destruction, Hadreas emerges once again with another set of piano based tracks called Put Your Back N 2 It, which ups the production quality and range of instrumentation, but still keeps its haunting, confessional feel. While these tracks are quite personal and intimate, dealing with Hadreas' addiction and emotional issues, as well many songs from a gay man's point of view, there are more universal themes here dealing with intimacy, addiction, feelings of self-worth, violence, family, and hope that will resonate with a far larger audience. The album also has a broader palate of instruments in which he can fill in the colors of his music. Most of the tracks are piano based, but there is also room for guitars, keyboards, and even *gasp* drums. Put Your Back N 2 It is an emotionally draining album but one that ultimately focuses on hope and is one of the best albums of the year. You can even click here and look at a blog on his record company's website where he gives his personal comments on the meaning and story behind each track.

"All Waters" is a simple plea for Hadreas to be able to hold his partner's hand in the street without feeling the hesitation or fear that all gay people have experienced. But also, the song can be appreciated by anyone afraid to show their love.



"17" is a harrowing gay suicide letter that resonates with any teenager, gay or not, who just feels out of place in this world. The song is almost too painful to listen to, Hadreas' voice bare and haunting, over minimal piano lines and ghostly electronics.



And "Take Me Home" deals with both literal prostitution for addiction, but how most people prostitute themselves in some way to get what they want. Hadreas' vocals are simply amazing, working beautiful with the funeral-like pianos, clattering percussion, and weeping guitars.



The bulk of tracks deal with addiction and the fallout from it, how it affects not only the addict, but everyone around them. "AWOL Marine," inspired by watching vintage porn, details an addict doing whatever he can do to keep the drugs coming, resorting to filming porn, and the resulting demoralization.



"Normal Song" conveys the message that once you get through your issues and troubles, you still have the lingering feelings that you are still damaged in some way, but that we are all damaged in some way and that the shared experiences can make things better. I love the quiet guitars and piano, and the almost whispered vocals.



And "Floating Spit," floating over murky, ethereal synths and a chugging, industrial beat, details someone overdosing and going to the other side. It's loneliness and peacefulness all at once. In the darkness and gloom of this record there is always a ray of light somewhere. From his ode to his mother "Dark Parts," where he takes a traumatic part of her life and shows the triumphant nature of her overcoming it. Or the love song to his boyfriend, "Put Your Back N 2 It," with him, having bared everything about himself, telling him there is no longer anything to worry about. And the starkly beautiful "No Tear," which comes across like a gospel song sung by Xiu Xiu, which is a gentle reminder to himself that you have gotten through the storm, and things will be ok, no matter how dark they get.



Put Your Back N 2 It is simply a breathtaking album. Its starkness and dark themes might chase some away, but it is worth the effort to get to know this record. It's emotions lain bare and without pretension. Hadreas' songwriting has eclipsed his very promising debut, his singing is strong and forceful, and the arrangements are growing more and more complex. This marks his ascension into the top tier of singer-songwriters.

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

Here are the videos this week that made my cookies crumble:



While I am not a huge fan of The Shins, and I am not crazy about their newest song, I do like this video a lot.



More R&B smoothness from The-Dream.



Oddly hypnotic video from Blondes.



More weirdness, and by weirdness I mean awesomeness, from Unknown Mortal Orchestra.



This song is on constant repeat for me.



This clip from Tanlines is pretty darn cool, seeing as you can pan and scan around the clip using new 360 degree technology.

Coachella 2012 Countdown: 48 Days! AVICII - "Levels (Skrillex Remix)"

Though I doubt I will check out AVICII's set, I do like this Skrillex remix.

Jam of the Day: Crystal Castles - "Suffocation (HEALTH remix)"

Noise terrorists HEALTH take their stab at remixing the Crystal Castles' track "Suffocation" off their last full-length. The original is a beat driven electro track with murky, whispered vocals from Alice Glass. HEALTH slow things down slightly to more of a dense throb, further filtering and reverbing Alice's vocals into another element of the track. Making things more sinister, the track is a veritable cornucopia of horror movie soundtrack themes. You can listen to the remix as well as the original track below.

Frankie Rose: Interstellar - Album Review

Frankie Rose
Interstellar
Rating: Grrrr

Frankie Rose, a Brooklyn singer/songwriter, is formerly associated with acclaimed acts Crystal Stilts, Dum Dum Girls, and the Vivian Girls, and has released one solo record under the name Frankie Rose and the Outs (unheard by me) and is now performing solely under her own name, Frankie Rose. Her first album titled Interstellar lives up to its title quite well, featuring ten tracks of lush, gorgeous, and catchy synth/dream pop which supports Rose's charmingly drifting vocals. The production on Interstellar has a dense, open quality of such records like The Cure's Disintegration, with lots of cavernous synths and drum programming, but also has a post-punk quality to it as well, with some brittle, ringing guitars and influences of acts like Magazine, Public Image Ltd., Echo and Bunnymen, and practically any artist on the 80s 4AD roster. The album is both expansive and intimate at the same time, filling wide spaces but also providing the listener with plenty of introspective, headphones-like moments.

The switch to using her own name shows that Rose is no longer content to work solely as a background player, or part of some trumped up band. The title and first track, "Interstellar," doesn't pull punches. Twinkling synths rise from a mist, her vocal upfront and direct, erupting into a shoegazey swirl of pounding drums, synths, and guitars.



"Know Me" practically borrows the drum programming from The Cure's "Close To Me," but instead of being of childlike wonder, the track is a spiky, guitar-driven romp about the power of words to hurt but not allowing them to.



The lovely multi-tracked vocals and spongy bass synths of "Gospel/Grace" flit over bouncy drums, spiky guitars, and washes of synths.



A brittle phalanx of guitars, tight bassline, and whiplash percussion drive the beat driven "Night Swim."



While the edgy atmospherics complements the icy guitars and chugging rhythm section of "Moon In My Mind," Rose's voice recalling the gauzy vocals of Lush. While I loved the darker, beat driven moments on the album, there are plenty of quieter moments on Interstellar. "Pair of Wings" is a lovely, almost ambient track, with some lovely lyrics about taking a chance again after being hurt.

"All that I want is
a pair of wings to fly
into the blue of
the wide open sky

Show me your scars
I'll show you mine
perched out of the city
on a pair of power lines"



Final track "The Fall" includes a lovely counterpoint between the guitars and a lovely cello part, and in combination with her densely tracked vocals could stand easily alongside the best tracks on a This Mortal Coil record. While "Apples for the Sun" features a haunting piano and organ drone underneath a heavily reverbed multi-track vocal.

Interstellar is a record to get lost in and to hibernate with. Its charms, while immediate, are many, and each subsequent listen brings you deeper into its bottomless pool. It's a lovely record for a cold winter day, or driving down a lonely highway. The music is so evocative and transportive, it acclimates to any setting. It is a phenomenal step forward, and in a direction I want to see her go further down.

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.

Coachella 2012 Countdown: 49 Days! Explosions In The Sky - "Last Known Surroundings"

I had to miss these guys the last time they played Atlanta, so I am hoping to check them out at Coachella. I hear they put on an amazing live set.

Gorillaz ft. Andre 3000 and James Murphy - "Do Ya Thing" Preview Clip

You can listen to a 30 second clip of the collaboration between Gorillaz, Andre 3000, and Jame Murphy, made in connection with Gorillaz inspired Chuck Taylors. Full track can be listened to here.

Jam of the Day: Lone - "Crystal Caverns 1991"

More liquidy rave material from producer Lone; from his upcoming album Galaxy Gardens.

School of Seven Bells: Ghostory - Album Review

School of Seven Bells
Ghostory
Rating: Grrrr

For me, sometimes music is all about the mood and setting. Countless times I have listened to a record I think I will enjoy when I am in a bad mood, or in a stressful situation at work, or when it is cold, and the music feels off to me, and nothing I do can make me like it. Other times, I can be in a great mood, sun is shining, and all is right with the world, and a record I don't feel I will like resonates with me in some way, shape, or form. Strangely, when I reverse the situations, I can find I love the record I disliked at first, and vice versa. Often, a record just takes awhile to click with me. That is why I have a reviewing policy that I have to listen to something at least 10 times, and at least three of those times in different situations; be it the office, the car, or at home. That way, I get some different perspectives on the music and can know what my true opinion is. I will admit that School of Seven Bells' first two albums never really stuck with me. They are a band that on paper I should like: ethereal vocals over dream pop/shoegaze guitars and beds of plush synths, however, Alpinisms and Disconnect From Desire left me a bit cold.

The band, formed by Benjamin Curtis of Secret Machines, together with identical twins Alejandra and Claudia Deheza, formerly of On!Air!Library!, have now been reduced to the duo of Curtis and Alejandra, and I am not sure if that is the catalyst that has changed their sound for me, but Ghostory has been quite a revelation. The album takes all the disparate elements that on paper made this band something I wanted to hear, and merges them into something whole and special. After listening to the tight rhythms and song structures I realized this was the album that M83 should have made, rather than the overly ambitious, and quite frankly bloated epic, Hurry Up, We're Dreaming.

Gone are the meandering song structures and the almost new age haze of past releases, and in place are songs with purpose and drive, where nothing really feels out of place, hurried, or incomplete. Guitars shimmer and ring brightly, with shoegazer elements applied only when necessary, beats are crisp and clear and move the songs forward instead of treading water, and Alejandra's vocals, while still the weakest element of the band, this time are slightly more emotive. Too often, at least for me, her voice can cross the line into monotone, with me wishing she would add a little more variety to her delivery. With that said, she gets stronger with each release, and it is evident on Ghostory that it is an area they are working on.

Off the bat, you can hear the immediate changes. "The Night" starts off with interesting guitar and bass textures before lifting off with a bouncy beat, gossamer vocal, and a rushing chorus.



Second track "Love Play" drifts a little back to their old sound of hazy soundscapes, but in the past where the music could get a little overpoweringly ethereal, there is a grittiness at play here that elevates the track. The bass synth is harsh and buzzing, and the guitars swell underneath.



The band reminds me a lot of a poppier Curve at times, a band whose intense shoegaze guitars and beats are sorely missed these days. "Lafaye" features a dense bed of drum programming under a shimmering wave of swirling guitars, in which Alejandra's vocals hide.



Songs like "Scavenger" continue this trend, offering a meatier rhythm section and tighter melodic focus.



"White Wind" is practically industrial with its booming drums and buzzing electronics, showing the band is pushing its sound into more muscular territory, which segues into the closing epic 8:30 minute track "When You Sing," which emerges from a murk of ambient noodling into a drum heavy, guitar driven attack, buoyed by waves of synths and Alejandra's gorgeous whispers.

Ghostory is not all beat driven. There is plenty of room for softer, more atmospheric tracks. "Reappear" features one of Alejandra's most beautiful vocal turns, echoing and multi tracked, almost like Elizabeth Frazer, lightly flowing over heavenly synth washes. "Show Me Love" begins almost beatless, allowing the guitars and keyboards to buzz around the vocals, until the clattering drum programming and more insistent, darker keyboards arrive to carry the song along.

School of Seven Bells take a huge leap forward with Ghostory, one that I was not expecting at all. I wanted to love the band on their previous albums, but either the mood was not right or it just didn't click with me. Although this album took awhile to get into my head, once it did, I found myself drawn back towards it time and again. For those in love with a shoegazer sound, but with more melody and purpose, this album is a phenomenal find, and one I highly recommend.

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.

Crystal Castles - "Suffocation" Video for Vs. Magazine

Crystal Castles' music mastermind Ethan Kath directed this "fashion" video for their single "Suffocation" shot in connection with Vs. Magazine. It features the always photogenic Alice Glass wandering around a deserted mansion in various couture gowns. Fabulous.

Coachella 2012 Countdown: 50 Days! Girl Talk -"Get It Get It"

Coachella is so close I can almost taste it. I'm excited to finally get to see Girl Talk, as I hear his live shows are phenomenally energetic. Love this mash-up from his album All Day. Anyone that can mash up Lady Gaga with Aphex Twin is pretty genius in my book.

Jam of the Day: Santigold - "Disparate Youth"

I'm really loving this new single from Santigold's upcoming album Master of My Make-Believe. This album has been a long time coming, and now won't get here until May it seems. Was hoping the album would be released prior to Coachella, but that looks unlikely now. I just hope she previews some more tracks beforehand.

Odd Future - "Rella" Video (NSFW)

NSFW new clip from Odd Future. I have to admit I am getting quite tired of the whole Odd Future shtick and would be quite pleased if they would just go away, but for now, they seem to be on a roll. This video appears to be an equal opportunity offender on basically all fronts, in addition to being just plain weird. My question is, what is the purpose of these images in relation to the song; do they really provide relevant social commentary or are they only there for shock value. For me, after the third image meant to shock me, I got bored. I've seen this type of thing done far better and far more subtly.

Grimes: Visions - Album Review

Grimes
Visions
Rating: Jeez Lady

Grimes, the one woman project of Canadian musician/artist Claire Boucher, has released two albums of experimental synth pop that at its best hypnotizes and transfixes, and at its worst confounds and perplexes. Visions, her third album, and first for iconic label 4AD, was recorded by Boucher in her home over a period of three weeks, and is unlikely to change any one's opinion of her or her output. If you enjoyed Halfaxa (which I did immensely) or Geidi Primes (which I did not), Visions will be a welcome addition to your collection. For me, I haven't seen much of a progression over the course of these albums to get really excited about these tracks. The production still sounds relatively bare boned, and instead of focusing on her strengths (which she appeared to be leaning on with Halfaxa) this seems almost like a regression, relying on the same sonic/vocal tricks in almost every track. This tends to make the tracks fade into each other with no real distinctiveness or charm. If the intention was to create more of a suite of tracks that utilized similar themes and motifs, then it fails as none of the ideas themselves add up to much over a 50 minute run time.

In my review of Halfaxa, I mentioned how I loved her combinations of beautiful and harsh sounds, and that her voice, when properly reigned in, was an exquisitely evocative instrument. My problems with the record were when the album flew off into realms of new age gauziness, coming across like a low-rent Enya. Unfortunately, with Visions, Grimes has almost forsaken all of the things that made me love her last record. There are a few tracks that capture the allure of the last record. The vaguely Asian melodies of "Genesis" undulate under Grimes' most ethereal and lovely vocal. Once the beats kick in, the multi tracked vocals take over the lush instrumentation.



"Circumnambient" features sinister blasts of synth lines over a harsh drum beat. Her voice, starting quiet and monotone, erupts further into the track, propelling the track forward. Strangely, it sounds like the perfect marriage between Gary Numan and Madonna.



These tracks work because her voice is working with the track instead of against it, becoming either the driving force, or working in harmony with the other elements. "Vowels = Space and Time," allows her breathy voice to grab onto the chugging drum programming, almost becoming another electronic element in the track.



However, her voice is likely to become the most polarizing thing about this record. Too many times, she sings far too high for the vocal to be effective, taking strange detours into Chipmunks territory, or slathering her vocals with so much reverb it is impossible to tell if it is human or not. Additionally, the music this time feels lazy and slapdash. Previously, Boucher has indicated that she is not a musician per se, noodling around with electronic equipment until she found sounds that she liked. On Halfaxa, this approach seemed to work in her favor, perhaps the luck of certain sounds bouncing off one another somehow worked together serendipitously. Here, that approach was not as fruitful. For the most part, the drum programming is very rudimentary, and at times seems like presets on Garageband. And the melodies mostly float along unmemorable, bleeding into choruses, when there are choruses to speak of. The album becomes almost an amorphous mess by the end, content to drift on ambient washes of keyboards and breathy vocals.

Tracks like "Symphonia IX" float on a pre-programmed beat, barely rising to any peak.



"Eight" suffers from more of the same tinny drum machines and lackluster bass lines, Boucher's helium voice, tweaked and tortured into such high octave extremes it would give even Mariah Carey pause.



"Visiting Statue" starts promisingly as a sort of updated electro take on Prince, but just never goes anywhere, remaining at the same place throughout the track.



"Nightmusic" also starts promisingly as a simple electro track, but Grimes' breathy vocals take over the mix and eventually the music just sets into autopilot.



Based on her album Halfaxa, I was expecting great things from Grimes. While I am not ready to count her out, Visions is a disappointing stumbling block, an album of many ideas, none of which really seem fleshed out well, and none that really struck me as being something that could be fleshed out. I'm hoping this is just a minor setback from her, as she truly has talent, but only needs a stricter hand at editing out the bad ideas from the good. Perhaps working with a producer next time might put things on track. As it stands, Visions is a baffling misfire.

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.

Coachella 2012 Countdown: 51 Days! Mazzy Star - "Fade Into You"

While it is doubtful I will check out Mazzy Star at the festival (two many likely conflicts), this is my favorite song of theirs.

New Saint Etienne Video - "Tonight"

So good to see them back recording again. 7 years is far too long. The song is nothing ground-breaking, just another wonderful Saint Etienne single.

Jam of the Day: Young Magic - "You With Air"

A swirling mass of samples, intertwined vocals, and synths that recalls bands like Animal Collective and Yeahsayer, "You With Air" is dark, delicious, and completely delectable.

Sleigh Bells: Reign of Terror - Album Review

Sleigh Bells
Reign of Terror
Rating: Grrrr

Sleigh Bells' first album Treats basically emerged fully formed, a delectable slab of furious guitars and hip-hops beats that pummeled you endlessly and kept you revved up over its run time. The album was such an image and sound defining moment for the band, it begged the question, what do they do for a follow up? You can do more of the same and try to continue the run established prior, or you can shake the foundation and go in a completely new direction. Thankfully, Sleigh Bells do neither outright, but seem to find the perfect midpoint of keeping their signature sound yet pushing it, refining it, making it clear they are not a one trick pony. This approach, of course, is not without its problems, the first being that the album is not as immediate as Treats. Reign of Terror takes several listens before you really figure out what the band is doing, and the back half of the record is a moody suite of tracks that focus more on texture than overt power. But once you get the flow of the record, it is a captivating listen, showing the band knows exactly what they are doing.

There are plenty of old school Sleigh Bells tracks on Reign of Terror, which are the touchstones to the record, that will bring in the faithful and not disappoint those wanting the the raucous band of Treats. First single, "Comeback Kid," is a fury of squalling guitars and slamming beats. Alexis Krauss coos and whispers over all the noise. What is most interesting about the track, and the album, is that the beats are far more industrial sounding than hip-hop based, Derek Miller's guitars are also cleaner and mixed to perfection, and Krauss' vocals, often buried in the mix on Treats, are more front and center.



"Demons" is perhaps Sleigh Bells' most hard hitting track. Pounding, Land of Rape and Honey-era Ministry drum machines are the foundation for a phalanx of air-raid siren guitars.



Several other tracks seek to emulate the trademarked Sleigh Bells' sound: "Born to Lose" and "Crush" both contain chanting/cheerleader vocals and call and response lyrics. The production here is so much cleaner than on Treats that, instead of sounding like copycats, actually sounds fresh and new. Where the band really excels this time is allowing songs to be softer and more melodic. Krauss puts out one of her most tender vocals on "End of the Line," with the guitars being less of a force, and floating over the beats and carrying the vocal instead of throwing it at you like a Molotov cocktail.



"Leader of the Pack," further takes a 60s girl group approach, contrasting Krauss' soft vocal against Miller's wall of guitars.



The final trio of tracks that end the album are truly what impresses, from the gorgeous swoon of guitars over the lonely vocals of Krauss on "You Lost Me,"



to the pointillistic guitar techniques on "Never Say Die," which is just mesmerizing by midpoint of the track, and the haunting closing wail of "D.O.A.," focus on texture and atmosphere, without forsaking power. When Sleigh Bells reign their killer sound in just a little, it amazes how much more dangerous they sound. All the outward fury is tightly coiled, never knowing whether they will unleash it or not.

I will admit I was very nervous about listening to the new album. When a band releases a debut album like Treats which is so sound defining and almost perfect, there sometimes is nowhere for the band to go. Sleigh Bells, after touring behind Treats for so long, were able to hone their sound and approach, and have gracefully sidestepped the dreaded sophomore slump. While it is not the stunning surprise that Treats was, Reign of Terror is an excellent second effort, and shows the promise of much more to come.

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.

Coachella 2012 Countdown: 52 Days! Gotye - "Eyes Wide Open"

While his new album is growing on me, I still think it is a half brilliant/half mess. But there is something kind of exciting about seeing an artist try a million things to see what works. Thankfully, he gets it right most of the time. I fell in love with this song, and his emotive vocal.

New Blur Song: "Under the Westway"

Damon Albarn and Graham Coxon performed a new track at the War Child charity gig.

Jam of the Day: Dillion Francis and Kill the Noise - "Dill The Noise"

Sassy slice of Moombahton.

Coachella 2012 Countdown: 53 Days! Other Lives - "Weather"

Gorgeous track from Other Lives. Hoping to check them out this year. Thankfully, they are opening for Radiohead on their upcoming tour, so I will be able to see them in March beforehand.

Skrillex - "Bangarang" Video

Another well-shot video for the dubstep man of the moment.

Jam of the Day: Diplo ft. Nicky Da B - "Express Yourself"

Fun Bounce track from producer Diplo.