Jam of the Day: Sky Ferreira - "Everything Is Embarassing"

Lovely, melancholy synth-pop track from singer Sky Ferreira.

Videos of the Week

Long holiday weekend is upon us; let's end this week with some fun:



Gorgeous black and white clip of divers in slow motion.



Cool, creepy video from Yeasayer.



Nightmarish video from hardcore act Converge.



Haunting and stark clip from the duo Dusted.



Trippy clip for the dream pop act Melody's Echo Chamber

Jam of the Day: Future - "Turn On The Lights"

Bass heavy banger from Future.

Album Review: The Vaccines - Come Of Age

The Vaccines
Come Of Age
Rating: Grrrr

The Vaccines' debut album What Do You Expect From The Vaccines? left me rather unimpressed, owing to the monstrous hype from the UK press as the band being the savior of guitar rock, but finding it to only being a moderately interesting run-of-the-mill alt-guitar album. Not that there was anything horrible on the record, in fact there were several catchy pop tracks, but overall it never really rose above merely pleasant. So, when their follow up Come Of Age found its way into my inbox I was less than in a hurry to get to it. Somewhat reluctantly I decided to listen to it and my first spin through it did nothing to change my perspective on the band and put it aside again. For some reason, I found it back on my hard drive when I was culling some chaff and thought, well, I might as well listen to it one more time before deleting it. I'm not sure if it were my mood that had changed or if it suddenly just clicked with me, but Come Of Age sounded different. I suppose my lack of real expectation in it allowed me to actually listen to it, and it is a surprisingly catchy record, full of sterling singles. Does this mean that The Vaccines are now living up to that storied hype? Well, not really. I still don't think this band deserves god-like status, however, they do need to be recognized for coming together with a set of almost instantly hook ready tracks that are hard to get out of one's head.

Blasting out of the gate with the raucous "No Hope," The Vaccines deliver a snide, jaded track about growing up,



and just continue on with track after track of catchy goodness, like the shambling "I Always Knew," and the pop goodness of "Teenage Icon," with its ridiculously memorable chorus.



Perhaps it is owing to working with producer Ethan Johns (Ryan Adams, Kings of Leon, Laura Marling) that has given them more focus and clear-headed direction, but The Vaccines seem more cohesive even with the album's tracks veering all over the guitar rock spectrum. From the punkabilly of "Ghost Town,"



Pavement-esque slacker rock of "Weirdo,"



spiky, 60's styled pop of the witty "I Wish I Was Girl," and the wandering noir/alt-country of closing stunner "Lonely World,"



The only real missteps are the overly sunny/quirky flower power track "Aftershave Ocean,"



and the George Harrison aping guitar solos of "All In Vein" that comes across more as parody than a truly respectful approximation.

Ultimately, Come Of Age is just a really good guitar pop record full of catchy riffs, memorable melodies, and, what was mainly lacking from their debut, a sense of personality. As I mentioned, this album is not going to change the axis of the planet or lay waste to the rock landscape, but if you want a really great rock record, you can certainly do a lot worse.

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: Special Request - "Mindwash"

Woozy breakbeat/rave track from Paul Woolford's Special Request project.

Album Review: Alanis Morissette - Havoc and Bright Lights

Alanis Morissette
Havoc and Bright Lights
Rating: Yeah Daddy Make Me Want It

By this stage in Alanis Morissette's career you know what you are going to get with her, and you are either going to stick with her or just idly stroll on by. Gone is that first note of shock and surprise when her debut shot to the top of the charts and took over the airwaves, and left is a slightly awkward singer/songwriter that, while gangly at times, still has some charms left in her arsenal. Her latest release Havoc and Bright Lights is her most consistent album in years, that mostly forgoes her usual "list this list that" lyrical schemes and awkward syntax, and goes for a more direct approach that suits her better. The album, produced by Guy Sigsworth, who produced her previous album, Flavors of Entanglement, and Joe Chiccarelli, doesn't quite stick to a one style for too long, favoring a more diverse set of tracks, that ultimately comes across as too much of a grab bag and not very cohesive, but there are still some really nice pop tracks.

Highlights on the album are the catchy, sparkling guitar-pop of lead single "Guardian,"



the darker, throbbing pulse of the cautionary drug tale "Numb,"



the epic mid-tempo ballad "Edge of Evolution,"



and the trip-hop/grunge hybrid of "Celebrity."



Of course being an Alanis album there are going to be a few outright clunkers. Treacly ballad "Til You" would make Diane Warren pass out from sugar overload,



the feather-light pop of "Spiral,"



or the a little too up for people feeling given off by "Win And Win."



But for the most part, the record sticks to providing sterling melodies and soaring choruses, like the wonderful "Receive"



and the shimmering "Lens,"



while still allowing moments of raw tenderness, as on the beautiful ballad "Havoc."

Surprisingly, Havoc and Bright Lights avoids most of her usual pitfalls and ultimately is a very solid set of adult pop tracks. I doubt Alanis will ever be as massively popular as she once was, but this record proves that she still can put together a collection of tracks that are memorable and catchy, and stands strong along the Katy Perry's and Kelly Clarkson's of the world.

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: Yeasayer - "Longevity"

Creepy cool video from Yeasayer.

Jam of the Day: Aaliyah ft. Drake - "Enough Said (Shlohmo Remix)"

The original is a bit of a travesty, so here is the haunting, witch-housey remix from Shlohmo to turn things around.

Album Review: Pet Shop Boys - Elysium

Pet Shop Boys
Elysium
Rating: Meh

Nearing 30 years in the recording industry and releasing their 11th studio record Elysium, legendary synthpop duo Pet Shop Boys are entering the twilight of their career. Never ones to really push the envelope of their sound, throughout their career PSB stayed basically in the wake of current electronic music trends, and since 2002's Release, have basically abandoned any pretense of remaining current and entered a stage of being wry elder statesmen, releasing decidedly "adult" pop music. Any PSB album lives and dies on Neil Tennant's lyrics, their least successful records (Bilingual and Fundamental) unfocused and scattered, never really showing Tennant's devilish wit and jaded social commentary. 2009's Yes was a remarkable return to form, showcasing Tennant's best set of songs since their masterpiece Very, and had me hopeful for a late period Renaissance for the duo. Which makes their latest album such a disappointment. Elysium is not a disaster, but it certainly will be considered a very minor PSB work.

Initially, Elysium struck me as comparable to their adult contemporary album Release, and I settled in for a set of mature, expertly written pop songs. "Leaving" hits all the right marks for PSB, nice melody, twinkling synths and swooning strings. Gorgeous, stately ballad "Invisible" which is a haunting commentary about growing older and trying to remain in the spotlight.



Single "Winner" just feels like another classic PSB track, featuring a soaring melody and rousing chorus.



The album as a whole appears to be a commentary on growing older and the perceptions and effects it has on an artist and as a person in general. "Your Early Stuff" could possibly be a reaction to reviews like this where there is always going to be a comparison to their earlier material. "Requiem In Denim And Leopardskin" a critique of artists who stay too long at the party and become a parody of themselves, with lyrics like "This is our last chance for goodbye/Let the music begin/Shining and souring like a requiem/In denim and leopardskin."

And while these songs have a discrete charm, overall, the songwriting seems very lackluster and rather phoned in. And while most PSB records' music is never anything to write home about, here it often appears cheesy and half-assed. "Requiem" feels like it's built from store bought Yamaha keyboard presets, and a by-the-numbers disco handbook. "Ego Music" is cringe-worthy both lyrically and with its very standard synthpop stylings, "Hold On" is meant to be a stirring anthem, but merely comes across as a bland, high school musical number, and "Give It A Go" sounds like one of their throwaways for Liza Minnelli.

Towards the end of the record, there is slight redemption with two tracks. The bittersweet reflections of "Memory of the Future," with aching lyrics like "Over and over again/I keep tasting that sweet memory/Looking back of my life now I'm in/Asking if not later then when;" and the dark, brooding synths of "Everything Means Something" is a stark contrast to the rest of the fluffy production work elsewhere on the album, which more of would have been a welcome contrast.

Ultimately, Elysium is a rather disappointing follow up to the charming Yes. Produced by Andrew Dawson, who has worked with Kanye West, I was expecting a more modern, fresh approach for PSB, and was shocked at how the album is buffed to an almost irritating sheen. Based on the themes of the record, I am almost saddened to have to mention that Elysium just doesn't match their earlier material, and while it doesn't tarnish their reputation in any way, it certainly does nothing to extend it.

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: The xx - "Sunset"

Brilliant, atmospheric track from The xx's second album Coexist. Such a haunting, sad song.

Video: Sleigh Bells - "End of the Line"

Latest video from their sophomore album Reign of Terror.

Album Review: Holy Other - Held

Holy Other
Held
Rating: Yeah Daddy Make Me Want It

Enigmatic Manchester producer Holy Other, who has yet to reveal his name or perform without wearing a face-concealing shroud, last year released his debut EP With U, a drifting, somber collection of tracks that skirted and blurred the lines between ambient, witch house, and future R&B. Featuring clattering percussion, ethereal keyboards, and tweaked out vocal samples, With U fit neatly within the confines of witch house, but had a wandering, elusive quality that elevated it to something more than just genre worship. Holy Other's debut full length Held doesn't stray far from the formula he set out in With You, collecting 9 tracks continuing his sound, but showing no clear indication of whether he can expand on it. With that said, it is still a compelling sound. Held is all shadows and dark light, a sepulchral walk through deserted city streets. Essentially there is one mood here and as long as you enjoy one track, you will like all others. But for those seeking a more stylistically diverse collection, you will surely be disappointed.

Opening track "(W)here" blooms out of a blocked beat and disembodied vocal samples, an steady sense of unease brewing just below the surface.



Album standout "Tense Past" builds over rumbling chimes and rising synths, as a supremely tweaked vocal sample is twisted and manipulated into a eerie prayer.



Deep washes of analog synth strings and harsh percussion continue the lonely and forlorn mood on "Love Some1."



A paranoid, cut-up vocal sample adds more edge to the schizophrenic density of "U Now."



His expert use of distorted vocal samples to convey mood and feeling continues on tracks like "In Difference" and "Past Tension."



There is a slight change-up on closing track "Nothing Here" that builds from a haunting ambient place, haunted synths and ghostly vocals whispering in the background slowly get more forceful, as competing samples intertwine with each other. The R&B influence in his sound becomes more pronounced as the track incorporates a more traditional melody as the track progresses.



Held is solid debut for Holy Other, but in terms of expanding the sound from With U it is a mild disappointment as it merely continues that trajectory without really indicating where he wants to take it, or whether he has the talent to expand it. In a sense, it is a triumph because it is wonderfully produced, atmospheric music, but yet, a failure in that there is no growth or progression. As such, it remains a bit of a mystery, much like his persona, as to what he is capable of; we are left in the dark until his next release. I, for one, am eagerly awaiting that day.

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: Face + Heel - "Wounded Melody"

Gorgeous, abstract two-step track from the Cardiff/London duo. Perfect track for a lazy Sunday.

Jam of the Day: Two Inch Punch - "Moonstruck"

Slinky track from R&B futurist Two Inch Punch.

Video: Nicki Minaj - "I Am Your Leader"

Lyrically NSFW song from Nicki Minaj. Has a fun, technicolor Dr. Suess-esque video.

Jam of the Day: Bleeding Rainbow - "Pink Ruff"

Wonderful roaring guitar track from Bleeding Rainbow.

Video: Ariel Pink's Haunted Graffiti - "Only In My Dreams"

One of the only decent songs on his dreadful new album Mature Themes, this track gets a fun rom-com video.

Album Review: Swans - The Seer

Swans
The Seer
Rating: Woof Daddy

Swans' reputation after 30 years of recording and performing is nearly unimpeachable. From their no wave beginnings, brutal punishing live shows, up to their embracing softer, more ambient textures, they have always pushed the boundaries of what their music is and can be. Leader Michael Gira disbanded the group in the late 90s to form a new band The Angels of Light which focused more on songwriting and embracing a more traditional, alt-country feel. In the late 2000s, Gira announced that he had more to say with Swans and toured along with releasing a new record,My Father Will Guide Me Up a Rope to the Sky, which, while not a stunning return to form, was a solid return for the band. As described by Gira, Swans' latest record The Seer "took 30 years to make. It’s the culmination of every previous Swans album, as well as any other music I’ve ever made…" Indeed, The Seer touches on almost everything, drone, no wave skronk, industrial, blues, ambient, black metal, and country, and basically bludgeons the listener over an incredible 2 hour run time, with the title track alone going well over 30 minutes. The Seer is a challenging listen, one that both encapsulates Swans' full body of work while also taking it the next level. This is not made for passive listening; it practically begs you to try and ignore it.

The Seer begins rather ominously with the droning "Lunacy" which pairs groaning guitars, chimes, and militaristic drumming; Gira and a host of backing vocalists whip things up in a monastic fury.



"Mother of the World" finds Swans massaging a repetitive guitar riff into submission, as a thundering bassline and creepy organ drones enter the mix. Gira's vocals moving from nonsense babbling to clearer vocals, as the music threatens to take off into space.



Of course, title track and album centerpiece "The Seer" is a 32 minute behemoth, starting from a rise of what sounds like bagpipes and organs, to a meandering section of twisted guitars and muted percussion, before the gathering storm takes place, Gira's vocals moving from a droning pulse to something more forceful, as the music swirls around him. The track moves through various sections, showing Gira's mastery of arrangement.



Not all of The Seer is devoted to long, droning numbers. Several tracks highlight Gira's songwriting prowess. "The Daughter Brings The Water," is a quiet, acoustic bluesy number, featuring a delicate vocal from Gira.



While Karen O shows up on the wondrously beautiful "Song For A Warrior," her voice timid and fragile.



And even within the longer, more brutal tracks, Gira finds space for beauty. Tremendous 19 minute "A Piece of the Sky" has to be one of Gira's most stunningly sublime songs. Going from a droning early section into a clash of Asian tinted instrumentation that is hypnotic, it morphs into a more traditional track with mournful guitars and keyboards, and a wry vocal turn from Gira.



But of course the more brutish tracks stand out among the others. Closer "The Apostate" is certainly a way to go out with a bang. Over 23 minutes the song is a master class in pacing; gracefully rising from a hushed opening of guitar wails into a furious cloud of roaring guitars and blitzkrieg percussion. The final minutes are an insane cacophony of out of control drums.



The Seer is a difficult album to recommend to a casual music fan because of its sheer length and almost relentless charge, but it is almost a perfect entry point for anyone interested in knowing what the big deal about Swans is. It touches on almost every point in their storied career without seeming retro or out of touch. It shows that nearing age 60 Gira is still at the top of his game, and still making some of the most vital 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.

Videos of the Week

Yeah, here they are, nice and tasty:



Gorgeous hotel room performance of their brilliant single.

Get More:
Diplo, Set It Off featuring Lazerdisk Party Sex, Music, More Music Videos

NSFW video for Diplo's single.



Hooky track from Bob Mould has a video turning him from corporate lay off to self-sufficient mountain man.



One of the few songs I like off the new Grimes' album Visions. This video makes absolutely no sense, which is what makes it so great.



Swirly, dream pop track from Apache Beat gets a video inspired by Picnic At Hanging Rock.



Stunningly filmed video for the new Joy Formidable track.



New clip for the Major Lazer track.

Jam of the Day: Illum Sphere - "H808ER"

808 beats fuel this track from the Manchester producer.

Album Review: Animal Collective - Centipede Hz

Animal Collective
Centipede Hz
Rating: Yeah Daddy Make Me Want It

Animal Collective's last record Merriweather Post Pavilion was one of those records that is the perfect culmination of a band's career, an instant classic that sets the stage for even higher expectations going forward. MPP took Animal Collective's creative experimentation and filtered it through a more traditional pop template; well as close as AC could ever get to something traditional. After taking some time off to release solo records, AC has returned with the highly anticipated follow-up Centipede Hz. For those expecting MPP Part 2, you will be highly disappointed, as AC shake things up again and revert to their more experimental beginnings, created a dense, cacophonous collection of whirly-gig tracks that eschews the more formal, almost minimalist compositions on MPP. Not that these tracks are in anyway "difficult" or experimental for experimental's sake, there is just more of an edge here than was on display during MPP.

The tracks that make up Centipede Hz function as the various body segments of the centipede, connected together and flowing as eerily hypnotic as watching one of the arthropods move. While the album is basically one seamless sonic exploration it gives up a sense of distinctive tracks at times, which can be frustrating when you are trying to remember a certain memorable part of a song. Thankfully, there are several tracks that do stand out amongst the swirl of electronics. First single "Today's Supernatural" swoops and dips and twirls as circus-like organ riffs force the track along.



Album highlight "New Town Burnout" slows things down a bit, parsing the electronics down to subtle drones over a clicking drum program, ending in a gorgeous coda of mourning strings,



before merging into the electronic workout that is "Monkey Riches" where Avey Tare's vocals almost go off the rail trying to keep pace with the swirling mass of keyboards,



while "Applesauce" is quite frankly the sweetest, lightest track they have ever put to tape.



The rest of the tracks are all uniformly good, utilizing interesting textures, samples, and time signatures, however, their lack of distinct individuality tends to make them get lost in a haze. "Pulleys" has a languid pull of pianos and underwater guitar effects,



"Rosie Oh" lurches and heaves over a backwards drum loop and spiky guitars,



and "Wide-Eyed" again submerges into a murky underwater world of liquidy electronics and guitar drones.



Centipede Hz is not a continuation of the masterful Merriweather Post Pavilion and really shouldn't be judged in that record's shadow, however, it is ridiculous to think that it isn't going to be. And no, it is not in MPP's league, but it has a lot of merits on its own. It's a rather fun record, full of interesting samples, asides, and tangents that always keep the record entertaining. It is essentially a minor work from the band, but finds them looser and goofier than they have been in awhile.

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: Dan Deacon - "Lots"

Frenetic track from Dan Deacon's upcoming album America.

New: Menomena - "Capsule"

Another new track off their upcoming release Moms.

Album Review: Minotaur Shock - Orchard

Minotaur Shock
Orchard
Rating: Grrrr

A lot of criticism of modern electronic and dance music is that it is cold and inhuman, lacking the warmth of analog instruments and more traditional band setups. I don't ascribe to that view as I have heard countless all-electronic tracks that are as emotionally rich and inviting as any "real" music out there. But for some, there is no getting them to see past their limited viewpoint. Certain electronic artists, however, have addressed this concern by incorporating more acoustic and traditional instrumentation into their work. Bristol-based musician/producer David Edwards, better known as Minotaur Shock, has always merged guitars, banjos, strings, and woodwinds into his tracks, leading critics and fans to label his music as "folktronica," and there is a very jaunty and whimsical side to his sound. His latest album Orchard takes this approach almost to another level, blurring the line between electronic and acoustic.

Nine minute opener "Janet" is a shock at first, blasts of analog synth and Japanese koto lead into a steady beat of real drums, dropping away into a tight groove of strings, xylophone, and acoustic bass; eventually breaking down into a lovely acoustic section. The song morphs and spins all over the place, but is kept in check by Edwards' good ear for arrangement and pace.



Glitchy electronics are underscored by skittering acoustic drums and fractured, treated piano chords on the dense, jittery "Ocean Swell," while the theme is continued on "Through The Pupils of Goats" where the mixture of analog synth washes and acoustic instrumentation lends the track a wonderful sense of beauty.



After the brief acoustic interlude "Too Big To Quit" the track "Westonbirt" takes off on a thumping house beat before a clash between more traditional and electronic elements creates a unique tension. These theme is continued in the frenetic pace of "Lending Library," with its jazzy beat and rush of interconnected vocal samples.



There is a delicate playfulness running through these tracks, from the tribal funk into Spanish guitar workout of "Quint," the funky bass underpinnings of the fragile closing number "Adventure Orchard," to the sparkling keyboards cut up into pointillistic stars of sound on "Saundersfoot."



Orchard is definitely a quirky release and might frustrate some listeners with its restless jumping between the acoustic and electronic. For me, the tension and contrast provided by this push and pull was too fascinating to not be sucked in whole. For all its musical schizophrenia, Orchard is remarkably assured and controlled.

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: Teengirl Fantasy ft. Romanthony - "Do It"

Fun, dance floor ready track from the upcoming Teengirl Fantasy album Tracer.

Album Review: Four Tet - Pink

Four Tet
Pink
Rating: Grrrr

With a blistering pace, Kieran Hebden, under his Four Tet moniker, puts out enough material to make most musicians dizzy. Always restless and seeking to push his sound in new directions, there is nothing that can be defined specifically as being Four Tet-esque, but amazingly, all of his work seems to flow together in some cohesive form. His last full length, 2010's There Is Love In You, was by far his most fully realized work, every foray into a different electronic genre was bound together by a seamless weaving of melodies and themes. It was a serious record that demanded, and received your full attention.

In the interim, Hebden has been busy touring, remixing, and working with artists like Thom Yorke and Burial on a whole host of tracks. He has also released over the past couple of years a series of vinyl only singles that are now collected here, along with two new tracks, as his latest album Pink. The most noticeable aspect of this collection of tracks is how different each of them are, and yet, how they still work together. Again, Hebden is not sitting quietly rehashing same exercises over and over again, flitting from deep house, pastoral IDM, to almost folktronica, never looking back or referencing anyone else. Easing out of the gate with the vaguely tribal-funk of "Locked," Pink starts with a sort of bait and switch as it doesn't sound quite like anything else on the record. Shuffling drums, buzzing synths, and trails of drowsy cascading guitars mesh and merge into a low-key, head-bobbing mix.



Which is all up-ended by the dense tech house of "Lion" which builds over a four to the floor beat a rising bed of droning synth tones and a variety of odd samples including dogs barking, before descending into more broken beats.



Album highlight is the gorgeous analog bubblebath of "Jupiters" which begins with a stellar intro of sparkling synths, dropping out the coming back in over a pulsing, throbbing bed of 808s.



"Ocoras" speeds things up under a futuristic rush of trance-like beats, sneaking in a lovely interplay of keyboard melodies and electronic burbles.



Likewise, under thumping beats and a cacophony of different cut up vocal samples, "Pyramid" brings your ass out to the dancefloor.



"Pinnacles" returns to the more organic side of Four Tet, adding some jazzy basslines and stark piano chords to the driving beats.



The only real missteps, and not really missteps, but just tracks that don't leave as lingering an impression are the drawn out pastoral IDM of "Peach For Earth" and "128 Harps" which slightly recalls some of his earlier work.



Considering most of the works on Pink have been recorded and released over a long span of time, it is amazing how such disparate sounds can coalesce into something this assured. It speaks highly to Hebden's amazing talent that he can dip his toes into so many different sounds and genres and never lose his own personality. While not the thematic masterpiece that was There Is Love In You, Pink is by far Hebden's most accomplished record so far.

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: Four Tet - "Jupiters"

Delicious slab of Black Dog referencing IDM from his upcoming record Pink.

New: Muse - "Madness"

Second peek at Muse's upcoming record The 2nd Law.

Album Review: Jessie Ware - Devotion

Jessie Ware
Devotion
Rating: Woof Daddy

Jessie Ware's back story reads like a 50's musical, backup singer plucked out of obscurity on the strength of her voice and pushed into the spotlight. What's different about Ware is how she has taken all of this in stride, seeing it all as a lark, that she is somehow playing a role, and none of this should be taken all that seriously. While her self-deprecating view of being a pop star keeps her grounded, there is nothing in her music that shows her not taking her craft seriously. Devotion is one of the best debut releases in ages, and is quite simply the best pop album of the year so far.

Ware was noticed first singing on several EDM and UK bass singles from producers SBTRKT, Sampha, and Joker, her earthy voice the calm center around all the swirling electronics. It was fear at first that her solo material would stay too close to this type of track and that her voice would be lost within too much production overload. Instead, Ware chose to work with producers Dave Okumu (of UK art-rockers The Invisible), Julio Bashmore, and Kid Harpoon (who worked with Florence and the Machine on their sophomore album Ceremonials) and has put together a collection of tracks that put all the focus on Ware's amazingly supple voice, which can veer sharply from a Sade-like coo to a full on Whitney Houston rafter raiser in a split second. Main producer Okumu's touch is felt the most on the album, providing a subtle, and minimal backing but not providing merely aural wallpaper; the music works with Ware rather than overpowering.

Leading off with the title track, "Devotion" eases into the record, Ware's voice almost a hushed whisper as atmospheric guitars and keyboards guide and push her along, providing a modern update to Sade's elegant R&B sound.



Of course, Ware is not going to be satisfied just gliding along each song. New single and album standout "Wildest Moments" perfectly encapsulates her wonderful voice in all its facets. Under booming drums and stark piano chords, Ware bites her teeth into a meaty melody, singing about a doomed relationship where "maybe in our wildest moments/we could be the worst of all":



From there, Devotion provides a diverse and varied set of tracks that run from pop ballads, R&B funk workouts, and more atmospheric pop singles. In all, Ware's voice provides the guiding force. There is not one track on here that is a throwaway or inferior to the next; it all works seamlessly together. Highlights for me are the Soul II Soul referencing "No To Love," early single "110%" which puts Ware's voice against skittering beats and UK bass backing,



and gorgeous album closer "Something Inside," where Ware's voice, hushed and lovely at the beginning, drops out just before the chorus, rising into the heavens.

There is something for just about everyone on this record, from beautiful pop tracks like "Running" which picks up the beats a little more, and lets Ware explore her wide range,



to mid-section album duo "Night Light" and "Swan Song," two mid-tempo numbers that again showcase Ware's elastic voice,



to sweet pop numbers like the jazzy "Sweet Talk," finding Ware in a kittenish mood.



Devotion is a brilliant debut that really gives a true sense of who Ware is as an artist. She doesn't take herself seriously, but she takes her music very seriously. She could easily have let her producers take control of her sound and direction, and also could have just released 10 electronic tracks with her vocals on them, but instead, she worked closely with her producers to come up with something that was truer to herself. Devotion is a must have record.

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: AlunaGeorge - "Your Drums, Your Love"

Gorgeous 1990s R&B referencing track from the London duo. Simply beautiful.

Jam of the Day: Jessie Ware - "Wildest Moments (Black Cab Sessions)"

Amazing performance of one of the standout tracks from her debut album Devotion. In the back of a cab, it is only her, a guy on guitar, and a guy on a MPC, focusing on her gorgeous voice.

Jam of the Day: Warm Ghost - "Inside And Out"

Lush, dense synthpop from Warm Ghost.

Album Review: Two Door Cinema Club - Beacon

Two Door Cinema Club
Beacon
Rating: Yeah Daddy Make Me Want It

For me, music can be transformed in a lot of ways. Sometimes I can listen to something in my car and it do nothing for me until I get immersed in it via headphones. Other times, the exact opposite can happen. Likewise, some recordings can just sound lifeless until bursting forth in a live setting. Two Door Cinema Club has always been that way for me. Their debut album Tourist History is a solid collection of alt-pop tunes that in recorded form always felt slightly reserved, holding back from truly taking off. When they announced a set at Coachella they were on my list of "to sees" but were not a "must see." Due to a lackluster set from another act, I decided to give them a try, and in concert, the tracks were completely rejuvenated, bursting with life that was only lurking beneath the surface in recorded form. Before the release of their second album Beacon, I was able to see Two Door Cinema Club live once more and, again, the music was youthful, alive, and just a lot of fun. The new material fit in seamlessly with the old, and it became a solid fact that Two Door Cinema Club is a formidable live act.

Of course, this brings me back to the recorded version of those songs and the same issue I had with their debut, Tourist History, that the songs on Beacon, while catchy as hell and beautifully produced, just seem lifeless on record, lacking the spark they have when the band presents them in front of an audience. Only in certain spots does a flicker of that live performance come out. First single "Sleep Alone" has it down perfectly. An insistent beat, buzzing synth bass, and delicate guitar work propel the track along, featuring a tender, longing vocal from lead singer Alex Trimble,



the white boy funky "Wake Up" turns into a glorious guitar rave up,



the blistering "Someday" is another track that hits it out of the park with a rousing chorus,



and on the more intimate and atmospheric "Pyramid" the band finally slows things down enough to show they can do texture, allowing the track to expand and breathe before launching into another big stadium chorus.

But for me the album just never really transcends the feeling that a lot of the tracks follow the same pattern, muted opening turning into a deliriously catchy chorus and building to a monstrous close. Not that there is necessarily anything wrong with that, it just lends itself to a lot of tracks that are indistinguishable from each other. Tracks like the driving opening song "New Year," slinky "Spring," and bouncy "Handshake,"



are all individually fun, peppy tracks, but just get lost when there is a long stretch. They succeed better when they throw some new things in the mix. Backing vocals from Valentina liven up the summery track "The World Is Watching," while the closing title track scales back the production to focus on minimal guitar lines and more enigmatic vocals. It is a striking track that really stands out amid all the other similar sounding tracks.

Again, Beacon is not a bad album by any stretch of the imagination. The songs are all catchy and wonderfully produced but just seem to stick to the same patterns that become more predictable over the course of the record. When the band even slightly steps out of that range, as on "Beacon" and "The World Is Watching," you see where they should have ventured a little more assuredly. It seems like they were worried about alienating the fans that made Tourist History such a success. While I applaud their concern for their fans, as an active listener, I was hoping they would beef things up a bit.

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.

Videos of the Week

Feeling some cooler temperatures come to the South this week, but still these videos were scorching hot:



Slick, Aaliyah referencing clip from Azealia Banks.

The Colbert Report	Mon - Thurs 11:30pm / 10:30c
Exclusive - StePhest Colbchella '012 - Santigold - "Disparate Youth"
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Santigold performing her awesome single "Disparate Youth" on the Colbert Report.

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Grizzly Bear showing off their live chops on the Colbert Report as well.



Spacey sci-fi-esque clip from the Minneapolis synthpop crew.



NSFW drugged out clip from A$AP Rocky.



Performance clip from 2:54.

Jam of the Day: Mark Knight ft. Skin - "Nothing Matters (Noisia Remix)"

Dark drum n' bass remix from Noisia. Below is the fairly standard, electro-house original track.

Album Review: The Helio Sequence - Negotiations

The Helio Sequence
Negotiations
Rating: Yeah Daddy Make Me Want It

Since their last release, 2008's Keep Your Eyes Ahead the Beaverton, Oregon duo The Helio Sequence could basically have renamed their band The Trials of Job owing to the band's practice space being flooded, as well as singer Brandon Summers shredding his vocal chords and having to completely relearn how to sing again. Granted, after those trials and tribulations it is difficult to fault the band for coming back to life with a rather melancholy and morose album. Negotiations basically ditches the band's former reliance on dense, swirling compositions of neo-psychedelic/shoegaze guitars and quirky arrangements and production flourishes. Indeed, there were many occasions I found myself wondering if I was listening to the right band, as the shift in focus is quite striking.

Opening track "One More Time" could easily fit on The Walkmen's current album, it's stately gothic pop and clean production the complete opposite from the wall of sound of the past. The chiming guitars and forlorn vocal easily flowing along the fuller sounding drums. The comparisons with bands like The Walkman and The National continue with the gentle alt-rock of "October."



Not until "Downward Spiral" do we get a return to the more atmospheric sound of early The Helio Sequence. The dreamy mood is propelled by a wistful vocal, airy synths, and gently echoing guitars.



The focus here seems to be on a more direct approach than normal. A lot of tracks on Negotiations involve broken promises, dreams squandered, lives unlived, and sense that there is no control over anything. This is evidenced by several stark, acoustic numbers. "Harvester of Souls" is a haunting meditation on mortality.



"December" highlights the acoustic guitars with washes of keyboards. The lyrics seem to a plea to a lover to come back to reality, "No more dreams in the corner of your mind/no more ways to make it come out all right/no more faith in the world we knew before/no more peace until you open up your door."



There are returns to more atmospheric tracks. The melancholy synths and ringing guitars of "Silence on Silence" permeate the sad tale of a relationship descending into staleness; U2-esque guitar effects punctuate "The Measure" and its plea to a lover to not make him out to be more than he is; while string synths wash over a dense bed of interlocking guitars on "Hall of Mirrors."



Negotiations will likely not be a huge hit with fans of The Helio Sequence because it is so markedly different from their previous releases. Honestly though, their more quirky experiments never really resonated with me. I always appreciated their technical prowess, but it always seemed the sound was more highly prized than any sort of emotion or feeling. With this album, and perhaps after a few years of bad luck, they have found that soul that was missing.

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: Swans - "Mother Of The World"

Hypnotic 10 minute track from Swans upcoming album The Seer.

Album Review: John Tejada - The Predicting Machine

John Tejada
The Predicting Machine
Rating: Yeah Daddy Make Me Want It

Austrian producer John Tejada's second album for the venerable German microhouse and minimal techno label Kompact is a surprisingly diverse set of tracks that smoothly segues between deep house workouts and more atmospheric excursions, even exploring some more electro-tinged areas. The Predicting Machine hits the ground running with the furious house of lead track "Orbiter," melodic tech house banger "A Familiar Mood," a spacier track "An Ounce of Perception." The only real snag on the album comes when Tejada slows things down with the back-to-back almost beatless tracks "Winter Skies" and "Radio Channel," which show his dexterity but tend to stop the flow of the album in its tracks.



From there however, the album kicks back into gear with a nearly flawless set of tracks. First single "The Function and the Form" throws down a pounding beat amid fluttering keyboards.



BPM's increase with the skronky dance track "Stabilizer," jumpy and jiterry "Horizon to Horizon," and the Orbital referencing "Glaringly Happy" with its cloudscraping synth melodies and hard-edged electro drum programming.



All ending with the gorgeous electro track "When All Around Us Is Madness" which glides Blade Runner synths over crisp, dark beats.



The Predicting Machine is a solid tech-house release that keeps things moving and interesting except for that one section of more ambient-esque techno that almost collapses the flow of the album. While not as stunning as releases this year from John Talabot, Scuba, Actress, and even Orbital, The Predicting Machine still gets the job done well, and is a frequently rewarding listen.

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: The Helio Sequence - "Downward Spiral"

Lovely, dream pop/shoegazy track.

Video: Azealia Banks - "Van Vogue"

Azealia channels her inner Aaliyah and Beyonce in this slick clip.

Album Review: Arca - Stretch 1 & 2

Arca
Stretch 1
Rating: Grrrr

Arca
Stretch 2
Rating: Woof Daddy

Venezuelan born, New York based producer Arca released his first EP Stretch 1 back in April on the fledgling UNO NYC label. It mainly got attention based on the creepy video for the single "Ass Swung Low," featuring the strange computer animated images of kids and babies spitting out some of the most hilariously vile words ever.



But more distinctive was the production itself, vocals low and manipulated within an each of their life, as if Tricky was brought back as a cyber-demon. The beats slowed down to an almost coma-like pulse, a dense foreboding atmosphere of drugged out paranoia. The rest of Stretch 1 does what any good debut EP should do, provide a nice overview of what the artist can do, and indicate what direction they are heading in. From the start, Stretch 1 shows that Arca is a master of atmosphere and unsettled expectations, in league with artists as diverse as Clams Casino, Nicolas Jaar, Burial, and Flying Lotus. Lead track "Dignity" drifts slightly aimlessly on a stunted beat and airy electronics before stealing a Blackstreet sample and manipulating it in unforeseen ways. From there, Stretch 1 hits on fractured hip hop ("Focus"), blunted bass heavy meditations ("DOEP"),



to haunting semi-ambient soundscapes ("Walls") before ending with the Flying Lotus-on-acid workout "Truly Carrying" which highlights Arca's dense production skills. Stretch 1 takes several listens before it truly sinks into your brain. It is almost too subtle until you really delve into its charms.

Where Stretch 1 is a perfect intro into Arca's off-kilter world, it almost does nothing to prepare you for the all-out sonic brilliance of Stretch 2. Instantly from lead track "Self Defense" the gauntlet is thrown down. Over a bass heavy bed of crisp drum programming, vocals ping pong all over the track, while a faint air of dread hovers over the proceedings.



Where Stretch 1 was languid in comparison, Stretch 2's focus is keeping you on edge. Beats form patterns that fade out and into themselves. "Focus" sounds like a machine imploding and digesting itself, while "Tapped In" settles into a dreamy fog of droning keyboards as the beats and bass get lower and more drawn out.

Stretch 2 never seems to follow any set pattern, and the first few listens can be frustrating as it becomes difficult to settle into any sort of groove. The blunted feel of the album takes flight in the middle with tracks like the punishing "Strung" and the aptly named "2 Blunted" whose vocals are so manipulated and twisted into a druggy haze you almost can smell the smoke.

Arca always has a new trick up his sleeve that confounds as well as awes. "Brokeup" in particular marries witch house, blunted beats, tortuously slow rave synth stabs, and creates a lugubrious mix that one wonders why it had never been attempted before.



And by record's end, he pulls the rug up from under you again with two amazingly complex tracks. "Meditation" combines layers and layers of keyboards that initially seem to work against one another before merging into one another, as the beats become more tribal and insistent. "Manners" takes things out on a gorgeous note, the soaring keyboards rising and crashing over a fairly muted drum program, before changing up completely at tracks end, the beats fading out into a harp-led interlude.



Stretch 1, as solid a collection of tracks that it is, left me completely unprepared for the huge leap in production skill on Stretch 2. The oddest thing about the record to me is how it sounds so much like things I have heard before, but somehow sounds fresh and new at the same time. At any rate, these two records certainly introduce a fresh, needed talent into the already too crowded electronic music field.

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: Green Day: "Kill The DJ"

Apparently Green Day think they are Franz Ferdinand with autotune. Seriously bizarre. You can stream it here.

Jam of the Day: Roisin Murphy - "Simulation"

New single from the criminally overlooked Roisin Murphy.

Album Review: Bloc Party - Four

Bloc Party
Four
Rating: Grrrr

I was beginning to wonder whether there would ever be a new Bloc Party album. 2008's Intimacy found the band almost ditching guitars altogether and embracing glitchy/cut & paste electronics and alienating a lot of their core audience in the process. In the interim, Kele Okereke released a solo album of electronic dance tracks and the remaining members were rumored to be auditioning new singers, so the prognosis for the band seemed pretty bleak. Contrary to all reports, however, Bloc Party is still alive and kicking and preparing to release their fourth record plainly titled Four.

The most noticeable thing about Four is that it a back to basics record, focusing on guitars and more minimal arrangements. Nary a synthesizer is apparent, and if there is one, it is used subtly. From the opening track "So He Begins To Lie" the guitars are grittier and more aggressive yet still angular and meaty, which leads into the buzzy drive of "3x3" and the herky-jerky rhythms of lead single "Octopus" which bounces and springs all over the place.



From there the album is almost a mirror image in quality with their debut Silent Alarm, featuring a nice cross-section of guitar workouts along with forays into more tender, atmospheric ballads. In these moments, for me, is where you really see the true spirit of the band. "Real Talk" adds some subtle use of banjo to counterpoint the solid, soaring guitar work. "Day Four" features gorgeous interplay between the guitars and an amazingly tender vocal from Okereke. And penultimate track "The Healing" finds Okereke hitting a wonderful falsetto as the guitars swoon around him.

Of course, Bloc Party would not be Bloc Party without their bread and butter post-punk attack. "Truth" is almost Bloc Party by the numbers with its ringing guitars and tight rhythm section,



while "V.A.L.I.S." and "Team A" both gather force and strength as the guitars move from more staccato bursts to a streamlined attack. Even among these more past-looking tracks, they find new ways to freshen their sound. Mid-album track "Kettling" is the best Smashing Pumpkins song Billy Corgan never wrote,



"Coliseum" starts off like a swamp blues boogie before erupting in a fury of blitzkrieg guitars, while closing track "We Are Not Good People" finds Bloc Party channeling their inner Motorhead, trading angular guitars for a grinding attack.

While not as striking as their debut Silent Alarm, Four finds the band in a more entrenched mood, focusing on the sound that made them indie darlings back in 2005. And while I was one of the few that loved their more experimental work on Intimacy, when you stepped back it just wasn't a sound that suited them. With the members seemingly isolated by all the whirring electronics, it was as if they band lacked cohesion. Four is a confident step back in the right direction for the band, and lives up to the old adage don't try to fix what ain't broke.

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: Petite Noir - "Till We Ghosts"

Haunting track from 21-year old producer/singer Yannick Iluga who's based in Cape Town, South Africa.

Jam of the Day: Arca - "Self Defense"

Ominous, bass heavy track from beat master Arca's upcoming album Stretch 2 which is one of the most thrillingly strange albums I have heard in a long time.