Jam of the Day: d'Eon - "Now You Do"

Sounding like a more R&B-influenced M83, Montreal producer d'Eon knows how to work his way around some lush beds of synthesizers. This track is off is upcoming debut album simply titled LP.

Album Review - The Walkmen: Heaven

The Walkmen
Heaven
Rating: Grrrr

Maturity seems to be a evil word when it comes to music. No one wants to give up on their youth, but at some point there has to be a change. Bands in their teens and early 20s that started out spewing piss and vinegar seem silly and anachronistic attempting the same 10-20 years down the road. It doesn't mean you have to put on a suit and start singing about carpools and play dates, but it does mean you have to evolve in some way. Over ten years, The Walkmen began as a hard drinking NY rock band looking for good times 24/7 on Everyone Who Pretended To Like Me Is Gone, evolving to jaded party goers on “The Rat,” from 2004’s Bows + Arrows, before settling into a more reflective era on You & Me and Lisbon. This gradual movement sort of reaches its apex on Heaven, perhaps their most consistent and, well, mature record yet. While The Walkmen have been more of a singles act for me (their previous albums never did much for me as a whole), but with Heaven they have stuck to a theme and are better for it. As The Talking Heads once sang about Heaven, "it's a place where nothing ever happens," and for Hamilton Leithauser and Co., this is not necessarily a bad thing. The songs on Heaven deal with the joys of family, stability of relationships, and how perspectives and goals change over time. Not that this album is a sunny walk in the park; frequently these realizations are hard fought and won, and it is always a struggle to keep them. Heaven is album about that struggle and how sometimes you come to late to those realizations and are left with nothing.

"We Can't Be Beat," opens the album on pensive note, as Leithauser sings over gentle guitars: "Golden dreams, all lose their glow/I don't need perfection/I love the whole," realizing that while the grass is always greener, you will get more out of appreciating what you have.



On "Heartbreaker" his player days are over, finding it hard to convince his love that he's ready to settle down.



The album primarily floats along on tender ballads and mid-tempo numbers, keeping a mood of contentment and sometimes pained resignation.

On album closer "Dreamboat" Leithauser is the aging Lothario who is at the point where he no longer can woo other women and realizes he's lost the love of his life for good, singing: "I left you, a million times/The Irony, ain't lost on me."



"Line By Line" favors age and experience over youthful exuberance: "Oh I've seen how this whole thing ends/The honest man survives/How do we know it?/I just know it."



And on "Southern Heart," the haunting acoustic centerpiece to Heaven, the pull between past and present is almost too much to bear.



The reliance on so many low-key tracks tends to make the transitions to more upbeat tracks that more jarring, and there are stretches of the album where you wish the pace would pick up. Indeed, the middle of the record can get particularly bogged down until things get going again with the rollicking "The Love You Love," where Leithauser chastises his lover for focusing too much on the surface of things, screaming at her "Baby it's the love you love/Not me."



Wonderful single and title track "Heaven" features sunny, ringing guitars pushed along by a forceful rhythm section, Leithauser fighting for the life he's built, imploring his lover "remember remember/all we fight for."



Heaven is not an immediate album; the languid pace of many of the tracks initially makes it difficult to truly get into the album, but, over time and several listens, you learn to let the pace dictate where the record goes, and like many of the themes on the record, appreciate what you are given. Initially, I thought Heaven to be too mature and too stately, but once you dig deep into the lyrics and themes, you find a darker spirit there. The epiphanies, while earned, sometimes come at a price. It is never a bad thing to dream and to chase those dreams, but you also have to have the guts sometimes to step back and truly accept what your life is, and appreciate it for what it is worth.

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 piques 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.

Video: The Walkmen - "Heaven"

Such a great song.

Jam of the Day: Blood Diamonds ft. Grimes - "Phone Sex"

Caribbean flavored electronic track from Vancouver producer Blood Diamonds (a.k.a. Mike Tucker).

Video: M83 - "Reunion"

Another striking visual clip from M83, continuing the story-line from "Midnight City." See if you can see the tribute to Adam Yauch in the video.

Album Review: Dntel - Aimlessness

Dntel
Aimlessness
Rating: Yeah Daddy Make Me Want It

Dntel's Jimmy Tamborello's 2001 album Life Is Full Of Possibilities was a classic of glitchy, melodic IDM that showcased his unique ability to collaborate with a variety of vocalists and yet still make the songs sound like a unified whole. This talent came to brilliant fruition with his work as The Postal Service with Death Cab For Cutie's Ben Gibbard, which perfectly married Tamborello's sleek electronics with Gibbard's wry, heartfelt songwriting. In the interim, we have had one more official release from Tamborello, 2007's Dumb Luck, that attempted to recapture the wonder of Life Is Full Of Possibilities, using another long list of collaborators (Grizzly Bear, Conor Oberst, and Lali Puna) but somehow falling just short of translating into something magical. Not that Dumb Luck was an inferior album from Tamborello, it just lacked the highs that he had previously found. In a way, his latest album Aimlessness seems to be a reaction to that, choosing to focus more on instrumentals and less on vocal collaborations, only working with Baths and Nite Jewel on two tracks. Most classic IDM usually focus on a theme, either through melody or some sort of evocative mood, however, here, living up to its title, Aimlessness strives for and creates a sense of, well, aimlessness. It is a difficult album to get a handle on, as there is nothing here to guide you through its 12 tracks. Once you give in to its ramshackle nature, there are moments of beauty and interest, but for most people, I doubt they will be willing to give it the time needed in order to be won over.

Aimlessness starts off with the rambling instrumental "waitingfortherest II" which features twinkling synths bumping up against glitchy, ghostly buzzes and scrapes. It is a strange opening to the album as it neither announces the direction of the album or even really gives any sort of indication as to what Tamborello has up his sleeve. As the opener fades into nothingness, "Jitters" comes to life, rising from washes of keyboards, bouncy, bloopy synths rise and fall over skittering drum programming. The playful melody is a breath of fresh air, and gets the album off to a more proper start.



"Still" is a haunting collaboration with electronica artist Baths and is almost a perfect marriage between the whooshes of synths, cut up guitars, and Baths' uncharacteristically low key vocal.



The only other collaboration is with Nite Jewel on "Santa Ana Winds," and, while pleasant, it plods along with little to no urgency.



Aimlessness works best when it sticks to less is more. The flow of tracks after "Jitters" and "Still" are brilliant in the use of space and texture. "My Orphaned Son" glides along a minimal beat while snippets of vocal samples float atop stark piano chords, while lonely strings push from underneath.



"Bright Night" takes relatively harsh individual elements and merges them together to create a seamless tapestry of electronic wonder.



"Retracer" leans on a slightly funky bass line, while a bank of analog synths burble along before jumping into the almost incongruous thumping keyboard chords and violins of "Puma," whose rhythms get more and more insistent.



From these creative and evocative tracks, Aimlessness truly loses its way, living up to its title a little too handily. Instrumental "Trudge" is exactly as its title suggests, all clogged beats and meandering keyboard lines. A completely unnecessary ambient remix of "Jitters" under Baths' ambient side project name Geotic is pretty but doesn't improve on the original. And "Doc" is basically a minimal techno track that listlessly interjects synth drones over a repetitious drum program. Closing track "Paper Landscape" is by far the biggest anomaly on Aimlessness. Haunting woodwinds and analog synths wind up from darkness to circumnavigate one another, but never really coalesce into something transcendent.

Aimlessness is not a disaster by any stretch of the imagination but neither is it on par with the practically perfect Life Is Full Of Possibilities. Tamborello seems torn between doing more experimental, instrumental pieces and more electro-pop pieces a la his work with Ben Gibbard, and, as such, we are left with a somewhat confused collection of tracks. I admire his willingness to try and come to terms with this push and pull, but this restlessness comes across as more unfocused than challenging.

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 piques 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.

Video: Scissor Sisters - "Baby Come Home"

New video and single from Scissor Sisters' just released album Magic Hour.

Jam of the Day: Sleigh Bells - "Demons (Diplo Remix)"

Diplo gives his unique bass heavy treatment to Sleigh Bells' Reign of Terror track "Demons."

Album Review: Saint Etienne - Words And Music By Saint Etienne

Saint Etienne
Words And Music By Saint Etienne
Rating: Yeah Daddy Make Me Want It

When I was in college back in 1991, Saint Etienne's first album Foxbase Alpha came out and was one of the first records that combined electronic music with a more overtly pop/singer-songwriter angle, marrying everything from 60s girl groups, Neil Young, and Burt Bacharach to disco, house, and rave-influenced beats. I remember I was just coming out and exploring that along with a expanded love for music that can only come about in a college town like Athens, Georgia. This album was on constant repeat; I was in love with its encyclopedia-like breadth of musical influences. A guy I was seeing commented as I was driving him one day that he didn't understand the music I listened to, and told me that "once I grew up" I would listen to real music like he did. Funny now that I am still listening to new, exciting music, the urge and desire never going away, only increasing in intensity each year, and I cannot even remember that guy's name. That is the power of music for me, and it is obviously a passion for Saint Etienne as well. Words And Music By Saint Etienne is their 8th studio album, and over 20 years from their debut is a love-letter to music and the power it has. While the album may not be as musically groundbreaking as their earlier releases, or as consistent as their classic Tiger Bay, it is a well-crafted collection of frequently gorgeous pop songs.

Opening with "Over the Border," a remembrance of how, in a less computer dominated world, we lived for the radio, magazines, and shows like Top of the Pops to get our fill of music. How music was our travel, taking us to places we could only imagine.



"Tonight" chronicles the anticipation and giddy excitement of going to a concert: "This could be my life this could save my life/I can hardly wait/Maybe they'll open with an album track/Or a top five hit no turning back."



Lush disco house beats propel the bouncy "DJ," where the troubles and ups and downs of romance are forgotten with the spin of the next record.



"When I am alone with my thoughts/I feel love in digital stereo" is the meaning and refrain of "I've Got Your Music," as the swirling beats and synths take you into the private, personal world of the music listener.



While the album is mostly uptempo, there are plenty of slower ballads that showcase Sarah Cracknall's still-gorgeous voice. "I Threw It All Away" trades pumping beats for low-key drum patters, strings, and flutes. Cracknall's hushed whisper skirts the low-end of her range, as she reflects on how change makes her feel like she gave up on what she had. "Twenty-five Years" is a heartfelt reflection, looking back on all the mistakes made, and wanting to make things right. While album closer, the wistful "Haunted Jukebox," is a lilting, mid-tempo number about how music defines our past and can bring back memories in an instant.



Words And Music By Saint Etienne shows that Saint Etienne can still put out quality material, even 20+ years down the road. Sonically, there is not a lot of adventurousness here as was found on earlier albums like "So Tough," foregoing their former collage of sounds, but making way for a lush pop pulse. They have really tapped into what makes my fondness for music such a palpable thing. They understand that music is life for us, and that we would be pale souls if the opposite were true. While I am not sure Saint Etienne will be around in another 20 years, I am sure I will still be searching for those new sounds that they so often sung about.

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 piques 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.

New: Azealia Banks - "1991"

Title track to the new Azealia Banks EP out today digitally. This is another collaboration with Machinedrum.

Jam of the Day: SBTRKT - "Gamalena"

New track from SBTRKT that works a more minimal, basscentric angle than his usual stuff. I kind of like that.

Videos of the Week

I am officially on a mini-vacation. This is will be my only post until Tuesday. Everyone have a wonderful Memorial Day Weekend. Here are the videos that jerked my chain this week:



Semi-NSFW clip from R&B referencing electro-pop act Lemonade.



Love this track from DIIV.



Lusty, violent NSFW clip from A Place To Bury Strangers.



Suitably dreamy track from Teengirl Fantasy.



Menacing clip from the dark-electro duo.



Bizarre clip for this banger from Hot Chip.

Jam of the Day: Alt-J - "Breezeblocks"

Interesting song from this UK band. Sort of sounds like a folkier The xx in a strange way. "Breezeblocks" has a very sinister video to accompany it.

Album Review - Public Image Ltd.: This Is PiL

Public Image Ltd.
This Is PiL
Rating: Grrrr

The first album of new material by Public Image Ltd. in 20 years shouldn't be this good. Indeed, when I heard John Lydon was coming back with a new album, I had little to no hope that it would anything but an utter embarrassment. It is a testament to Lydon's tenacity that he refuses to phone anything in. This Is PiL could have been a mere rehash of the past; instead, it is a album that looks to the past and is informed by it, but stamps on with its own stubborn trajectory. Unlike former members Jah Wobble and Keith Levene, who have gone out on tour doing a dub version of Public Image Ltd.'s classic album Metal Box, Lydon has no need to stay firmly in one place. This album is restless, antagonistic, frustrating, thrilling, exciting, and ultimately a compulsive listen.

The music on This Is PiL is still dub/post-punk-influenced, featuring menacing bass lines, stark guitars, slippery beats, and Lydon's trademark scream/howl/spoken word vocals. Many of the tracks here reflect on London and its influence on Lydon's life and music. First single "One Drop" features the opening line "I am John and I was born in London/I am no vulture/this is my culture," while the guitars and bass line snakes all over a driving beat, Lydon commenting on how "We are the ageless/we are teenagers/you cannot change us/and that's what makes us/we are the focused/out of the hopeless."



"Reggie Song" pulses along with a throbbing bass line and scraping guitars, focusing on a character called Reginald living in London who "doesn't see evil..../in the garden of Eden." Which obviously, to Lydon, smacks of being unaware of the world and its surroundings.

"The Room I Am In" is a gorgeous spoken word piece about the prison of council estates; droning guitars echoing the thoughts of the narrator.



But This Is PiL is not within a self-contained/limited view of the world. The album looks to deeper more darker truths. "Deeper Water" looks to the darkness and emptiness of a vast ocean and how terrifying it makes life seem. The guitars slam against the metronome beat, Lydon fearing the waves will "dash me to the shore/and crash me on the rocks."



"Terra-Gate" the relentless centerpiece of the record, whips itself into a fury of roaring guitars, smashing beats, and Lydon scream/shout/chanting the chorus. "Human" is a more loping track, bouncing on a funky beat and bass line, the guitars darting in and out of the mix. While "I Must Be Dreaming" exchanges the brittleness of prior tracks with crystal clear guitar notes contrasted with a funkier, almost disco-like guitar lines.



Lydon is not all serious. The weird, wonky track "Lollipop Opera" is just out right bizarre. Acoustic guitars, airy percussion, and odd burbling synth noises clash with some of Lydon's strangest lyrics: "I got a broom/you got a broom/I got a mushroom".



This Is PiL is a remarkably assured record, never coasting on the back of what previous incarnations have done. Lydon, agitator that he is, doesn't often get a lot of credit for being in control of his musical vision. This Is PiL pushes at their sound without sounding strained or forced, but also not sounding uninspired or generic. If only other bands allegedly past their prime would look to his records as inspiration, there would be a lot more stunning music out there.

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 piques 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.

Jam of the Day: A-Trak & Dillon Francis - "Money Makin'"

Sometimes you just need to hear a silly song.

Video: Light Asylum - "Heart Of Dust"

Menacing video for a menacing song of their debut album.

Album Review - Rye Rye: Go! Pop! Bang! (Deluxe Version)

Rye Rye
Go! Pop! Bang! (Deluxe Version)
Rating: Yeah Daddy Make Me Want It

4-5 years in this Internet music age is an eternity, especially when it comes to pop music. At only 16, Baltimore rapper/singer/dancer Rye Rye burst on the scene in 2006 with the club hit "Shake It To The Ground." Made with producer Blaqstarr, the track showcased Rye Rye's sassy, whipsmart flow, and ignited talk that she was the next big thing in hip-hop/R&B. The track came to the attention of M.I.A. and Diplo who loved the track and wanted to work with her. Following a tour with M.I.A., she hit the studio with M.I.A. and host of other top notch producers, including Bangladesh, Steve Angello , RedOne, and The Neptunes, with a release date set for March 2009, which ended up being delayed due to Rye Rye's pregnancy. Following more and more delays, including the apparent dissolution of M.I.A.'s N.E.E.T. imprint, it seemed that Rye Rye's debut album would never see the light of day. In addition, the rapid ascension of Azealia Banks basically took over any notice of Rye Rye, and she seemed to be another one of those artists that would get swept under the rug. With little fanfare, promotion, or really anything for that matter, Go! Pop! Bang!, long delayed, slipped into stores. The album retains Rye Rye's sass and sheer joy at performing, and is as infectious an album as you will hear all year, but, aside from that, the album has some issues, namely that her record label has no idea what to do with her. Had they kept their hands out of everything, and let her do what she does best, it might have been a classic album, but no, they had to make the same mistake that Nicki Minaj's record label did, which is try to put a square peg in a round hole. I've never understood why female rappers have to be pushed to sing more or have more pop-leaning tracks. You never see male rappers pushed into the same direction. This lack of confidence in female rappers audiences merely hems the artists' creativity and makes them seem less original and distinctive.

Go! Pop! Bang! comes in two versions, and this is basically a recommendation to buy the Deluxe Version, which comes with 6 extra tracks including her breakout track "Shake It To The Ground." I realize this track is several years old, but it has never had an official releases and is the prime example of how brilliant she is. Showing a remarkable flow and wit, announcing she is all fun: "I'm not a gangsta girl/but a ghetto superstar."



And it is when she is given a pounding backing track and allowed to rhyme unfettered is when she shines the best. Lead track "Drop" features a slamming bass line and furious programming from Bangladesh, and is an all out call to get out on the dance floor: "Drop the 808s/so you know I'm gonna freak."



The party continues with "Holla Holla," another fun, booming track.



"Hotter," another Bangladesh-produced track, ups the ante again, focusing on another minimal backing track, deep bass line and simple synth line, allowing Rye Rye to do her thing.



Borrowing a sample from Madonna's "4 Minutes," "Dance" has another lightning fast flow from Rye Rye with the dizzy drum programming attempting to keep up with her.



Typically inventive programming highlights the Neptunes-produced "Shake Twist Drop (Featuring Tyga)."



But too often, instead of just letting Rye Rye run with it, you can sense the label heads forcing the record in another direction. First signs are apparent on "DNA (Featuring Porcelain Black)" which sounds like a Rihanna B-side, trying to tie Rye Rye's flow to a tired house track.



Most egregious is a pointless track with Akon, "Crazy Bitch," which basically grinds the record to a halt. Over a simple drum beat and strummed guitars, the track never takes off, basically focusing more on Akon and shoving Rye Rye into bit player territory.



"Boom Boom" is just another generic electro-house track that really anyone could have recorded.



Even the tracks with M.I.A., which aren't bad per se, smack of lack of confidence in Rye Rye's abilities, choosing to pair her with a more noted name to spark interest. "Sunshine" is a fairly low-key number, which at least has the common sense to let Rye Rye do her thing over the verses;



while "Better Than You" is a better, true collaboration, having M.I.A. and Rye Rye trade rhymes over a stunningly weird Ethel Merman sample from Annie Get Your Gun:



Despite the tendency of the album to seem cobbled together by record label committee, Go! Pop! Bang! is a deliriously fun record that easily overcomes these limitations. As I mentioned, just be sure to purchase the Deluxe Version which collects several pre-album tracks that are essential listening: "Shake It To The Ground," "Hardcore Girls," and "Bang (Featuring M.I.A.)." Hopefully, this record will not be overshadowed by other releases, including the upcoming juggernaut that is Azealia Banks, and will reach a wide audience. Also, hopefully there will not be any more delays in getting new material out. Go! Pop! Bang! is a great summer record that begs to be listened to at full blast with all the windows 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 piques 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.

New: How To Dress Well - "Ocean Floor For Everything"

New music from the upcoming How To Dress Well album Total Loss, out in the fall.

Video: Gossip - "Move In The Right Direction"

Get More: Gossip, Move In The Right Direction, Music, More Music Videos

While I wasn't thrilled with the new Gossip record, this is one of the better tracks on it, and now it has a video.

Jam of the Day: Fantastic Mr. Fox - "Speak Nuh"

UK bass producer Fantastic Mr. Fox comes out with another sliced up bit of icy robo-funk.

Album Review - Light Asylum: Light Asylum

Light Asylum
Light Asylum
Rating: Grrrr

UK duo Light Asylum, made up singer Shannon Funchess and synth player Bruno Coviello, definitely wear their influences on their sleeves, but there is such a mix of differing influences that it makes up for what is lacking in the originality department. When asked to describe their sound, I remarked to some friends that it sounds like Yaz fronted by Grace Jones, or Nitzer Ebb fronted by Alison Moyet, with nods to Speak and Spell era Depeche Mode, early Nine Inch Nails, and even current electro darlings La Roux, if they were more goth influenced. What makes Light Asylum stand out from the crowd is Funchess' amazing contralto, which hits some astonishingly low, rumbling notes. Her voice is so deep, a friend actually thought it was a man singing at first. Her voice adds menace, but also emotion and heart to the furious electronics, tempering their clinical assault. There is no doubt she is in control of the songs, relentlessly stalking the verses and choruses as Coviello does his best to pound her into submission with throbbing drum machines and blistering synth lines.

The opening three tracks are a pretty good representation of their intense approach to their sound. "IPC" is a furious howl of antagonistic keyboard lines and Funchess' guttural barks, a call to arms to "fight girls, get tough, fight cops, who try to rape us."



"Pope Will Roll" occupies some alternative universe where Miami bass music meets up with Chicago industrial, delivering a harrowing attack on hypocrisy of religious figures, shouting "you live in a glass house/like you were a god."



Over blasts of drum machines, Funchess intones like a god on a mountain herself on first song "Hour Fortress" as Coviello throws is entire arsenal of analog synths at her.



Thankfully the whole album is not a pummeling set of tracks, Light Asylum wisely choose the midpoint of the record to scale things back and work on atmosphere and texture, allowing Funchess more room for evocative vocal work. "Sins of the Flesh" has a more dub influence, drum programming echoing all over the track, Funchess' voice deep and attention grabbing,



"Angel Tongue" trades aggression for a practically jaunty synth melody, Funchess' voice tightly controlled,



and album centerpiece "Shallow Tears" is a haunting ballad seemingly about birth and the struggle for life, "will you meet me by the river's edge?/as I lay low down my head/until they hold to thy breast/will you drown me in shallow tears?/No, don't go away, away!" Funchess' voice gives you chill bumps towards the end.



Aside from the blitzkrieg industrial attack of "At Will" the remaining tracks on the record have a slightly more melodic/pop structure to them. "End of the Days" adds some Asian-tinted keyboards and funky samples to its synthpop beat,



while "A Certain Person" is almost a left-field Top 40 pop hit, featuring shiny keyboard lines over sparkling drum programming, letting Funchess hit some high notes, sounding like a more muscular Alison Moyet.



Light Asylum is a great debut for this duo as it has enough diversity within it, not allowing the album to seem one note, which some electro albums can default to. It also points in several directions they can head with their sound, in order to progress it further. Funchess' voice can be a little much to take in large doses, but she seems to be aware of its innate strength, and attempts, successfully more often that not, to scale it back when necessary. Light Asylum is a promising debut for this up and coming band.

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 piques 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.

Video: Sleigh Bells - "Demons"

Arty, live performance clip for the Reign of Terror album track.

Video: Sigur Rós - "Ég anda"

Rather odd video for the first song on their new album Valtari. According to the band, it is the "first of a series from 12 directors for a mystery film experiment." This video offers step by step instructions for saving someone from choking (spelled out on cuecards).

Jam of the Day: Light Asylum - "Shallow Tears"

Loving their debut, self-titled album, which sounds like Grace Jones fronting Nitzer Ebb at times. This is an amazing electro ballad.

Album Review - Totally Enormous Extinct Dinosaurs: Trouble

Totally Enormous Extinct Dinosaurs
Trouble
Rating: Yeah Daddy Make Me Want It

UK electro producer Orlando Higgenbottom, who performs as Totally Enormous Extinct Dinosaurs (TEED), is known for his elaborate stage shows featuring intense lighting, dancers, glitter bombs, and elaborate headdresses that make him a resemble a Las Vegas showgirl crossed with a stegosaurus. You can have the most amazing live show in the world, but without the music to back it up, it can all be a bit hollow. TEED doesn't do anything fancy, trendy, or truly ground-breaking, instead, putting out a set of beat heavy electro-pop tracks that bounce around from house music, synthpop, to even a few explorations into 2-step. What you lose in originality, however, you gain in outright catchiness. Trouble collects a series of tracks from some earlier EPs and joins them with some new tracks for a fairly pleasant, fun listen.

Trouble works best when it sticks to more structured synthpop tracks. "Tapes & Money" is a bouncy, glittery track featuring some catchy synth work peppered with vocal samples.



"Garden" winds down a more minor key way, but the downtrodden tone is lightened by some squiggly synth lines and a heartfelt vocal from Luisa from Lulu and the Lampshades.



"Household Goods" brings a brighter view into focus, the glistening keyboard lines flow all over a thumping beat.



TEED ventures into deep house territory for the relentless "Trouble," which builds layer upon layers of keyboard lines into a frothy mix.



There are a few outside the comfort zone moments on Trouble that were also intriguing. I loved the atmospheric opening of "American Dream, Part II" leading into the pounding electro-house beats;



opening track "Promises" throws a bit of a curve ball off the bat with nods to 2-step, building a funky track off the skittering rhythms; "You Need Me On My Own" is a buzzy ballad with a lowkey vocal from Higgenbottom;



while "Closer" also feeds on a peppy 2-step beat.



There are a few issues with the album. Higgenbottom's voice is fairly deadpan and unemotional throughout the record tending to make a lot of the tracks seem similar. A little more vocal diversity would have made the flow of the album a little more distinct. And too many of the more house-influenced tracks never really took off, coming across as bland and generic. "Shimmer" is, well, all one-note shimmer, "Your Love" has a fairly repetitive beat and melody without any sort of release, and "Panpipes" starts out intriguingly before getting muddled in repetition again.

All in all though, Trouble is a fun, well produced set of dance tracks that will fill a dancefloor as well provide a soundtrack to a fun house party. A little more vocal and musical diversity in subsequent releases would bring a little more to the table. Based on his live show videos, however, that seems to be one area that he is not lacking. I definitely intend to catch him live if possible.

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 piques 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.

Video: When Saints Go Machine - "Mannequin"

New track from an upcoming album from Denmark's When Saints Go Machine.

Video: Hot Chip - "Night & Day"

New clip from Hot Chip featuring dancing monks, an egg-shaped creature, supermodels, and Terence Stamp.

Jam of the Day: Lemonade - "Softkiss"

Glossy, R&B-influenced synth-pop from Brooklyn via San Francisco trio Lemonade. Debut album Diver comes out May 29th.

Jam of the Day: Rye Rye - "Drop"

Slamming track from Rye Rye's much delayed debut album Go! Pop! Bang!

Album Review - Squarepusher: Ufabulum

Squarepusher
Ufabulum
Rating: Yeah Daddy Make Me Want It

UK electronic produced Squarepusher (a.k.a. Tom Jenkinson) has had an interesting career since the mid-1990s where he made his name merging his love of drum and bass with jazz influences before spearheading a movement (along with other artists like Aphex Twin) known as drill'n'bass, a hyperactive form of breakbeat jungle music. Although the genre was fairly short-lived, Jenkinson never quite gave up the ghost, with drill'n'bass still a fixture on his releases. While it is admirable to continue with a sound you enjoy, it can be overly repetitive if you don't evolve and push that sound. For me, the last few Squarepusher albums have been pretty rote. His production and programming skills are still excellent, but I wasn't hearing anything new. Instead, I was being pummeled by more and more harsh, intricate beats. I longed for something a little more out of the ordinary from him, like his amazing jazz/drum and bass fusion Music Is Rotted One Note. Based on some tour promotions he released prior to the release of Ufabulum, where Jenkinson was before a huge light wall, dressed up in some futuristic Daft Punk-esque uniform, I was led to believe this would be more of a crowd-pleasing house record than his usual sonic trickery. The promos were a bit of a bait and switch as the record is basically a Squarepusher record, with a few interesting detours, but no great re-defining of his signature sound.

Initially, things start off status quo over a skittering drum and bass rhythm with low bass rumbles in the background on "4001," the programming getting more off-kilter as it progresses. As you begin to feel you have heard it all before, Jenkinson throws a bit of left hook with the addition of some shiny, ascending synth chords which changes the focus and mood of the song completely, making it sound fresh and new for him. While the programming remains brutally complex, the synth melody holds everything in place. When the programming threatens to take over the track, the melody always reasserts itself to bring it back down to earth.

Squarepusher - 4001 by Nikoloz Bionika

"Unreal Square" almost threatens to become a dubstep track with its 8-bit synth squeals and low bass rumble before, once again, some quite lovely, bright keyboard swells lighten the mood. Of course, Jenkinson once again throws the track into chaos at the end with some harsh drill'n'bass flourishes.



"Stadium Ice" also changes things up quite a bit, with acoustic guitar strums accompanying a woozy, dreamy synth melody over a relatively hushed programmed beat.

Squarepusher - Stadium Ice by vidaluk0

80s analog new wave keyboards spike "Energy Wizard" with a bizarre peppiness that is completely unlike Jenkinson, but is rather a nice touch. Which flows into the somber ambient centerpiece "Red In Blue," which, sort of acts as a bridge into the second half of the record, or, in my opinion, acts as the dividing line between the more imaginative, playful side of the record and the more brutal, drill'n'bass half. From this point forward, Jenkinson is quite happy to look back to the past for his inspiration. The remaining tracks are all textbook examples of Jenkinson's programming prowess. From the sci-fi B-movie buzziness of "The Metallurgist," the droning, sinister "Drax 2," the harsh electro of "Dark Steering," to the Transformers on acid scrape of "#03 Scopem Hard," the pace is relentless and oppressive. The tracks are so dense it almost becomes difficult to tell them apart. Even after several listens, the back half of the record just gets lost in layers of electronic noise. Closing track "Ecstatic Shock" appears at first to be heading down that same track, however, midpoint a twinkling synth melody emerges and saves the track from being another bash you against the head drum programming course.



Ufabulum is a frustrating record because there seemed to be a push by Jenkinson to finally push his sound somewhere new, and then got bogged down with a little too much same-old same-old. The first half of the record is thrilling because it is unexpected and keeps you on the edge of your seat, while the back-half, which is far less adventurous, sticks to his tried and true formula and ends up bashing you over the head with a blitzkrieg of electronic weapons. If anything, Jenkinson still shows that he is an amazing producer and drum programmer, but we already knew that. I just want to hear something I haven't heard from him before.

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 piques 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.

Jam of the Day: Diplo - "Set It Off (ft. Lazerdisk Party Sex")

From his upcoming EP Express Yourself, here is another track from Diplo.

Diplo- Set It Off feat. Lazerdisk Party Sex by Mad Decent

Videos of the Week

Here are the week's videos that were the opposite of Chinese water torture:



I'm completely in love with this album.



Nicholas Jaar's "band" Darkside. Sounds an awful lot like his solo work, which is not a bad thing.



Creepy video from Pop. 1280.



Really cute video from Kindness.



Trippy re-imagining of Pretty Woman.

Video: Totally Enormous Extinct Dinosaurs - "American Dream, Part II"

You've got glitter and the man behind TEED dressed up like a Las Vegas showgirl cum stegosaurus.....what more do you need?

Video: Pop. 1280 - "Bodies In The Dunes"

For a song about burying prostitutes in the sand, this is a suitably creepy video.

Jam of the Day: Elite Gymnastics - "Life/Trap"

Some skittering drum and bass from Minneapolis duo Elite Gymnastics.

Album Review - Beach House: Bloom

Beach House
Bloom
Rating: Chilfos

Over four albums Beach House has never made drastic changes in their sound, choosing to add, refine, and polish it subtly and gently. You can basically enter their world at any point and be transfixed and transported into a gauzy realm of drifting keyboards, shimmering guitars and singer Victoria Legrand's amazingly evocative voice. With 2010's Teen Dream, I thought perhaps Beach House had reached the height of their powers and sound, and could take it no further. To me, there is really no other song as perfect as "10 Mile Stereo" from that album; its power to take over my emotions is unparalleled. It is the equivalent of knowing when there is nothing left to say and leaving at just the right moment; keeping your audience sated, but still wanting more. While I always wanted more from them, in my heart I knew I was going to be disappointed. Initially, Bloom sounded too much like Teen Dream, as if the songs could have been recorded during the same sessions. Several listens in I still wasn't really finding anything new that excited me, but something kept pulling me back to Bloom, and wouldn't release its grip. It finally dawned on me that , while Teen Dream was a fantastic record and has some of their best songs ever ("10 Mile Stereo," "Norway," and "Walk In The Park"), the album as a whole falls short of brilliant because of a couple of weaker tracks. Bloom, on the other hand, doesn't have any one or two songs that stand out from the pack; instead, the entire record is uniformly stellar. Each track plays of the next and taking one out would disrupt the entire flow. Their command of melody and strong lyrics propels them into the upper echelons of indie-rock. Bloom is their first masterpiece, and is a singularly haunting experience.

Bloom is a record about moving on from or running away from the past, striking out for new territory; whether it is by forgetting the past or making peace with it. Lead track and first single "Myth" contemplates making your own history, not allowing what's happen before dictate who you are, Legrand singing "can't keep hanging on/to what is dead and gone."



"Myth" is one of Beach House's finest moments, building off a simple drum machine pattern and interlocking guitars and keyboards. The flow of the track is exquisite, growing stronger as the track flows on, ending perfectly with the keyboard part echoing out.

In "Wild," a preset drum machine starts things off before real drums kick and the guitars and buzzing keyboards take over. Guitarist Alex Scally fills the track with echoing guitar trails, while Legrand's ethereal voice floating on top. The character in the song escaping a troubled home life through acting out, but knowing that is not the way to deal with it. Singing "One chance to fall behind the lines that will not let you/Can I believe in how the past is what will catch you?"



The trifecta of "Myth," "Wild," and third track "Lazuli" completes probably one of the best 1-2-3 salvos in indie pop. The soaring keyboards and guitars perfectly encapsulate the feeling of the track; washing over you in waves, keeping you warm and content. The lyrics of the track trying to make sense of a relationship, knowing it's fragile and can fall apart any moment: "Is nothing like lapis lazuli/let it go, back to me/Like no other you cant be replaced."



As I mentioned, Beach House hasn't made any great leaps with their sound, making gradual shifts that only make themselves apparent over long listens. You almost fail to notice on a track like "On The Sea" that it is very simple melody, almost shorn of any effect. Legrand's voice is achingly raw and tender, and sends shivers up your spine. The song is a gorgeous, impressionistic view of making your way out in the world, building your life on what has happened before: "Time will tell in spite of me/In hind of sight no peace of mind/It begins and we'll be fine/Where shadows bend and suddenly/The world becomes/And swallows me in." When Legrand's voice builds to the song's apex, with the piano, guitar, and keyboards merging into one, you can understand what beauty is.



If "On The Sea" was the closer, it would have been a perfect ending to a perfect record, but Beach House even goes one step further, closing out with the sublime "Irene." If there is a song that defines Beach House, this will likely be it. Rising drones of organ and keyboards erupting into a simple keyboard melody, while cymbals and drums flutter around. The guitars scrape and cajole the track along, before it all comes together in perfect harmony. The lyrics contemplating life and death: "There's no mystery at all/It's a strange paradise/You'll be waiting." There is a lengthy bridge where the song seems stuck in a rut, the tension building and building almost painfully, until a lone keyboard buzz breaks it, and the song takes off once again into the atmosphere. I can only imagine how amazing this track plays out live.



The haunting "Troublemaker" glides on a lonely organ line and elegant guitar line. The song, a remorse filled tale of a woman leaving her family for another man, but realizing, what he doesn't yet, that his face reminds her of what she has done: "Some day out of the blue it will find you/Always /Always a face to remind me/Someone like you." The brilliant tracks just keep coming and all work together to tell different sides to an expansive story. Whether it's about always looking ahead for better times to come ("New Years"), being afraid of the pain and struggle of life but knowing you have to go on ("The Hours"), or the haunting effects of memory ("Wishes"), the pieces work separately as well as a whole, collectively bringing you into its complex tapestry.

Bloom is one of the most beautiful records you will ever hear. Legrand's voice, which in the past tended to be a little bit over-the-top, fills the songs eloquently and with the right shades of emotion, and works perfectly with Beach House's more expansive sound, taking their humble beginnings and adding more (yet not ostentatious) elements which all fit right. While some of the lyrical themes seem somber, the music behind them is, for lack of a better word, transforming. It takes you out of yourself and out into the world; you become a part of it and it lingers long and hard in the soul. Bloom is a sublime masterpiece.

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 piques 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.

Jam of the Day: Yeasayer - "Henrietta"

Dubby new track from Yeasayer.

Album Review - Sigur Rós: Valtari

Sigur Rós
Valtari
Rating: Woof Daddy

It's been four long years since the release of Sigur Rós' last record Med Sud I Eyrum Vid Spilum Endalaust, which divided a lot of fans with its more playful, less somber tone. Subsequently, the band took an extended hiatus with leader Jonsi putting out a solo record that had him embracing almost traditional song structures, and even more "happier" sounds. After a lengthy tour, it was suggested that Sigur Rós were perhaps finished, that Jonsi would continue in the same vein as his solo output. Somewhat mysteriously, word was spread that a new Sigur Ros album would be released, with the band being quite hushed about what it would sound like. Bassist Georg Hólm described the album as having "more electronic stuff than before" but not being "a dance album". After listening to the album, I have to say that description is quite off the mark, as Valtari is one of Sigur Rós' most organic sounding records, and perhaps its most ambient record. Drums and percussion are mostly absent here, with greater reliance on strings. Jonsi's distinctive voice is more notable at the beginning of the record, until the back half which becomes almost all instrumental. And it seems Jonsi's flirtations with English lyrics have ceased; the album is in a combination of Icelandic and "Hopelandic," Jonsi's made-up language. So, in the grand scheme of things, where does Valtari fit in Sigur Ros' oeuvre? At first, for me, I was very disappointed after hearing the bassist's description as well as Jonsi's output. I was expecting something revolutionary in their sound, and instead, it didn't seem like a forward progression at all, almost a regression. In fact, I would even say I was bored by the record at first. Once I finally pulled myself out of that mindset, I decided to get over my disappointment and try to listen to the record apart from their other albums; give it a chance to be evaluated on its own merits. While I am still a little disappointed with the record, there is a somber grace to Valtari that makes it rise above my initial reaction. It is a "difficult" album in the sense that you can't just jump into it and get your bearings; it takes time to get in the right frame of mind for the experience.

Valtari is a gorgeous record and impeccably produced, its 8 tracks forming more of a singular experience, a suite of songs, instead of individual moments. There is an ease with the flow of the record, taking its time to get where it is going. The album feels like a journey through live, beginning in hushed environments, getting louder and more purposeful in the middle section, then slowly fading into nothingness. Starting with a chorus of muted voices washing over each other, lead track "Ég anda" slowly unfurls with rising strings and rumbles of guitar static, its stately pace gaining density with the addition of subtle percussion, gauzy guitars, and Jonsi's ethereal voice.



"Ekki múkk" haunts with fluttering strings; Jonsi's childlike voice emerging from the shadows. Delicate pianos echo throughout the piece, as electronics and strings fold in on each other, before the song fades out on stark piano chords and what sounds like old vinyl scratches.



The songs on Valtari barely rise above a whisper, dealing more in ambiance and texture than brute force. "Varúð" gets underneath the skin with its treated pianos and swell of strings; Jonsi's voice rising to meet the storm. The track never fails to make my hairs stand on end when the drums come in at the end, sending the song into an extended blissed out coda,



leading into album centerpiece "Rembihnútur," whose stately drums propel the track over a fog of pianos and twinkling keyboards.



From here the album takes a broad turn into more ambient territory. "Dauðalogn" is a gorgeous piece of droning guitars and strings, Jonsi's stark vocal, and a haunting chorus of angelic voices.



Jonsi's voice all but disappears for the final three tracks. "Varðeldur" is a somber, piano led instrumental featuring lovely guitar and electronic textures underneath; "Valtari" floats on a bed of treated guitars and string drones, augmented by twinkling electronics; while "Fjögur píanó" is a simple piano based instrumental that closes the record on a note of tentative resignation, giving in to the fading light.



Like its haunting, magical album cover, Valtari defies easy description or logic. It will either speak to you or not. I resisted for the longest time, allowing my initial disappointment to cloud my enjoyment of what is a very intimate, special record. It inhabits that space in the day between light and dark when everything seems to be in a hyper-twilight; where everything has both a crystalline clarity and hazy outline, where it both illuminates and confounds. There is a complexity here that is subtle and sublime, and takes you on your own personal journey, wherever that make take you. Valtari is stunningly realized and one of the best records of the year.

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 piques 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.

Video: Death Grips - "Hustle Bones"

New video from Death Grips.

New: HEALTH - "Tears"

New track from HEALTH which is featured in the new Max Payne 3 video game.

Jam of the Day: Kuedo - "Live, Work, & Sleep In Collapsing Space"

Amazing non-album track from the Severant sessions. Sounds like Vangelis at a rave. I apologize for the quality of this clip, as it is a radio rip.

Video: Kindness - "House"

Absolutely brilliant video that couldn't have cost more than $50 to make. It will put a smile on your face.

Album Review - Simian Mobile Disco: Unpatterns

Simian Mobile Disco
Unpatterns
Rating: Grrrr

Producers/remixers James Ford and James Shaw, a.k.a. Simian Mobile Disco, have not exactly followed any direct path in their musical career. Amid the hype of Justice and other electro-house producers, Simian Mobile Disco released their debut Attack Sustain Decay Release, which took a more acid house/techno approach than their contemporaries, relying on older, analog equipment to give their sound some warmth. Follow up Temporary Pleasures was a bit of a misfire, attempting to make a more radio-friendly pop album, using a variety of guest singers, which just made their sound muddled and indistinct. 2010's Delicacies was a return to form, if you will, though again, they switched up sounds, putting out a series of lengthy tech-house bangers. While it was more of niche genre they infiltrated, it was one they did with style. New album Unpatterns broadens the scope a bit, moving to outright house and techno, but again doing so with their inimitable style firmly in place.

There is a definite ebb and flow to the pace of the record, which never hurries nor dawdles. The beautiful, haunting rise of warm analog synthesizers merges well with a multitracked and manipulated vocal sample on opener "I Waited For You."



The shuffling rhythms of "Cerulean" get bolder and more insistent, keeping up with the burbling electronics, and slight air of menace underneath.



"Seraphim" returns to the feel of the opening track, synth strings enveloping a lush vocal sample, before an army of gorgeous analog synths take things over.



The album highlight is "A Species Out Of Control," taking its cues from a more industrial influence. Icy and hard edged synth blasts fight against one another as a pulsing rhythm pushes the track out on the dancefloor. The track can be heard here.

"Interference" is a deliciously retro techno track; silky drum programming underneath a wild array of wonky synthesizers. The track can be heard here.

"Put Your Hands Together" builds another house track with another vocal sample repeated like a mantra over a throbbing four to the floor beat.



Had the album ended here it would likely, for me, have been a near masterpiece. The flow and pace of this part of the record is practically flawless, Ford and Shaw in perfect control of where the record is headed, and flooding the ears with amazing melodies and sounds. The remaining 3 tracks, while not disasters, just don't have the same feel and slow the dynamics down some. "The Dream of the Fisherman's Wife" is mired in its difficult techno wrappings, the arrhythmical drum programming and synths fighting too much against one another. "Your Love Ain't Fair" fares better, though the erratic vocal sample lacks the pull and charm of the earlier samples, and again, seems to fight against the flow of the track. And the album closes out with "Pareidolia," a meandering techno track with water torture drum programming and glitchy electronics that ends things on a rather obtuse note.

Despite the eventual running slightly off the rails of the last 3 tracks, the first 6 songs more than make up for these sputterings. Unpatterns definitely advances Simian Mobile Disco's sound and reveals Ford and Shaw as cunningly imaginative electronic artists. If this album sheds light on their future, it is indeed going to be a bright one.

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 piques 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.

Jam of the Day: Paradis - "Hémisphère"

Smooth electro-pop from French duo Paradis.

Video: Bear In Heaven - "Sinful Nature"

Standout track from their latest album I Love You, It's Cool, "Sinful Nature" gets a trippy retelling of the movie Pretty Woman.

Album Review - Gossip: A Joyful Noise

Gossip
A Joyful Noise
Rating: Meh

Beth Ditto is rather larger than life, an out and proud front woman with a powerful voice that is even bigger than her lush, zaftig frame. On record and onstage, she is a force of nature that tends to overshadow the music. Emerging from a DIY dance-punk beginning to land a major label contract, Gossip released Music for Men back in 2009, and somehow, under the tutelage of Rick Rubin, their bite was reduced somewhat. While there were a lot of great, dance-able tracks on that record, there seemed to be a lack of danger and excitement. Live, however, these tracks came to life, which made me feel a little less anxious about their future. Well, I should say, until the release of their latest album A Joyful Noise, which is produced by Xenomania founder Brian Higgins, who has produced the likes of Cher, Kylie Minogue, Dannii Minogue, Pet Shop Boys, The Saturdays and Sugababes. As I have mentioned in past reviews, I don't have a dislike for pop music as long as it is not auto-pilot, by-the-numbers types of songs, and I have no problem with indie-esque acts moving to a more pop sound, as long as the songs are still catchy and there is still a spark of the old band kept within. Here, I wished Gossip had just gone for it, and made a Top 40 pop record, instead of trying to some sort of hybrid. Instead of getting a fun, sparkling album, we get something timid and tepid. While the production is slick and well done, the buffing and polishing makes the pop songs listless and the attempted edgier tracks toothless. I kept craving something that sounded darker and more challenging, which sadly never came.

This is not to say the album is unenjoyable. There are several really nice tracks where the production suits the songs and Ditto's voice. Disco-punk barn burner "Move In The Right Direction" has a slinky, sexy vibe propelled by a driving beat and swooping synths.



Likewise, "Get Lost," has a great chorus where the disco guitars and deep house piano rolls really take off.



"Love In A Foreign Place" leans in the right direction between pop and indie, keeping a tight fit between the down-tempo keyboards during the verses and the roaring chorus of full blown synth bursts.



Ballad "Casualties of War" benefits from the more streamlined production, and showcases a more subtle vocal turn from Ditto.



Lead track "Melody Emergency" has a nice sleazy, electro-blues vibe with Ditto's vocals slithering all along the verses and chorus.



The rest of the album wanders fairly aimlessly, never really taking flight in any way. Lead single "Perfect World" is pretty standard pop rock fare, with simple guitar chords and backbeat that only slightly comes alive at the chorus.



Elsewhere, the lyrics are particularly bothersome, as they border on being generic, telegraphing their meanings without subtlety or nuance. The simplistic "Involved" is merely about another woman attempting not to be hurt by love again,



while "Get A Job" apparently has Ditto mad that she has to go to work while her trust-fund roommate doesn't,



A Joyful Noise is the type of record that should be used as a cautionary tale for any artist letting their label and producers get too involved in the creation and direction of their sound. You know this is Gossip but it just doesn't feel like them. The edge that was once there is sorely lacking, and by midpoint of the record I was practically screaming for at least one song to just break from its over-produced shackles. For a record titled A Joyful Noise, there seems to be a distinct lack of anything joyful to back up those claims.

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 piques 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.