Happy 20th Birthday: Suede's Debut Album Turns 20

Happy 20th Birthday to one of the most fully realized debut albums of all time. Even today, listening to Suede is a monumental experience, losing none of its sleazy charm.

Jam of the Week: When Saints Go Machine - "Love and Respect (ft. Killer Mike)"

I never would have thought of combining Danish electro-pop outfit When Saints Go Machine with Atlanta rapper Killer Mike, but strangely, it works. Very well.

Videos of the Week

Happy Zombie Jesus weekend everyone!



Pretty amazing video for the new track from the Yeah Yeah Yeahs.



Menacing and unsettling video from Tricky.



Scandinavian thug life video from electropop quartet When Saints Go Machine.



Moody, B&W clip from Depeche Mode.



Interesting, life as dance, clip from Passion Pit.



One long tracking shot of a woman trying to break her chains illuminates this gorgeous song from Phosphorescent.



Stark cover of the classic Leonard Cohen song.



Beautifully shot video filmed in the Dominican Republic focuses on the slums and clubs.



Sort of a pre-post-apocalyptic world is delved into in this clip for the gorgeous track from inc.

New: Tricky - "Does It"

First video off Tricky's upcoming album False Idols. Based on this and the first teaser single, it sounds like he is at least focused this go around.

New: Young Galaxy - "New Summer"

Glistening synths propel this track from the upcoming Young Galaxy album, Ultramarine. The soaring chorus is infinitely moving.

Jam of the Day: Joker - "Newham Generals"

After the flop that was his debut album The Vision, Joker returns with this slamming instrumental that shows him back in form. The track can be heard here on his SoundCloud page.

Video: Depeche Mode - "Soothe My Soul"

New video from the second single from Delta Machine.

Classic Jam: Orbital - "Belfast"

Simply one of the most gorgeous electronic songs ever recorded.

Jam of the Day: Dirty South - "Until The End (ft. Joe Gil)"

There is nothing particularly remarkable about this track, it is essentially just a nice club anthem, but for some reason it sticks with me. Isn't that what the best music sometimes does?

Video: Passion Pit - "Cry Like A Ghost"

Sort of bizarre clip of a girl dancing through her relationships.

Album Review: The Strokes - Comedown Machine

The Strokes
Comedown Machine
Rating: Meh

Really, there are sometimes where you make such a definitive statement there is nowhere to go but down. In 2001, The Strokes' debut album Is This Is? was a defining moment for the band as well as the beginning of a new era in the post-9/11 world, moving the music world back into the guitar/bass/drums world. While their sound was not exactly groundbreaking in any way, it was their attitude and swagger that sold it, sounding dangerous and popular at the same time. Since that time, however, The Strokes' have not exactly lived up to the enormously high bar set by their debut. Their second album, Room On Fire, didn't change their sound up much, mainly opting for a cleaner sound. Third album First Impressions of Earth was almost an unmitigated disaster, earning the band their worst reviews and worst selling album of their career. The band basically fell apart afterwards, with Julian Casablancas releasing a solo album and the other band members going off on their own projects. Remarkably, the band returned in 2011 with Angles, however, the band itself has even said it was done for the money, and despite it being a very solid record, received some very mixed reviews. Somehow the band is back with their fifth (and contract fulfilling) record Comedown Machine, which finds them at a very strange crossroads. Will this be the answer to the question posed by their debut, or is it the jumping off point for something fresh and new? The answer is a bit muddled. Comedown Machine is by far the most eclectic Strokes record yet, jumping around over different styles, never really settling into one groove for long. It does sound like the band is all there though, unlike Angles where it sounded like the band were in different countries, emailing their parts to one another.

Oddly, the most Strokes-esque tracks are the least interesting songs on here. "Slow Animals" has the same Is This It? template down, but sounds lifeless and rote, while "All The Time" almost feels like a Strokes cover band.



It is where the band really does something different where they make good on the promise of their start. I love the hypnotic swirl of keyboards and guitar on the drone-heavy "50/50;"



"Partners In Crime" has to be the loveliest track they have ever done, Casablancas' voice tightly coiled with emotion, finally letting go in the closing moments that never fails to move me;



the half-silly, carnival ride of "One Way Trigger" is simply too infectious to ignore;



while "Welcome To Japan" slinks along on a disco vibe.



But overall, the record just feels a little stilted and lacks direction, and quite frankly seems lazy at times. Opening track "Tap Out" barely jumps out of its smooth groove, sounding like Casablancas is singing from a bathtub, "Happy Endings" is slick and propulsive but lacks heart, and closing track "Call It Fate Call It Karma" is a drowsy, faux-jazz/blues number that is rather ruined by Casablancas' forced falsetto.



While Comedown Machine is a more band-centric record than their last, it does end their contract on a very muddled note. There is nothing explosive or game-changing here, showing that the band at least is trying to go out on a high note, nor is there anything terribly embarrassing that might indicate the band doesn't care anymore. Instead, it is profoundly unexciting, which is shocking considering how dangerous they sounded on their debut. As such, we are left to ponder the fate of the band going forward. If Comedown Machine is their final record the band fades out with merely a whimper. If this is just a stop-gap before heading off into different territory, then it is just a mere bookmark in their career. Time will tell.

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: Active Child - "Evening Ceremony"

Gorgeous track from Active Child off the soundtrack to the film The Host.

Video: Cold Cave - "A Little Death To Laugh"

More gothy synth pop from Cold Cave. Is it me or is Wes Eisold sounding more and more like Andrew Eldritch?

Jam of the Day: On and On - "Ghosts"

The first single and opening track to their album Give In, "Ghosts" is a gorgeous song about not wanting to be forgotten.

Jam of the Day: Branko - "Waves (ft. Roses Gabor)"

Branko, of Buraka Som Sistema, releases this slamming track with the help of Rose Gabor.

Album Review: Depeche Mode - Delta Machine

Depeche Mode
Delta Machine
Rating: Yeah Daddy Make Me Want It

Delta Machine, the 13th album from synthpop stalwarts Depeche Mode, made me have to reassess how I feel about the band. Since the departure of Alan Wilder after Songs of Faith and Devotion, I was still listening to the band as if they were still the same act, when in fact, like R.E.M. post Bill Berry, they have been a completely different entity altogether. Wilder was definitely the member of the band whose experimenting took the band to the next level, but whose work was kept reigned in from being too out there by Martin Gore's pop instincts. Wilder and Gore's partnership sustained the band over an amazing course of releases, but absent Wilder, Depeche Mode feel into a bit of a rut. From Ultra on to Songs of the Universe, Depeche Mode seemed to be in a holding pattern, and in fact following a pattern where their albums were barely distinguishable from each other. Upon the first few listens to Delta Machine, this belief was hardly challenged. Most of the tracks barely have a danceable pulse, there is the requisite bluesy guitar track, the one Martin Gore ballad, and a somewhat overall feeling of lethargy. But somewhere over the time I was listening to the record, I finally had to just give up the hope that they would return to the Wilder halcyon days and just accept that they are really a different band now, and evaluate it on those terms. Without that cloud hanging over my impression of the record, I was able to enjoy it more.

This new Depeche Mode is far more about mood and atmosphere than dance tracks, and the album highlights are always the tracks that focus on this. Despite the relative lack of movement on their tracks, Depeche Mode's last few records have always sounded great, and the production values on Delta Machine are no exception. And once you get over the fact that there will not be any songs that will get your feet moving, you can focus on what the band has now become. The tracks that stick out for me are the brooding, industrial tinged songs that are all about darkness and tension. "Alone" is one of their most haunting tracks, all moody keyboards and atmospheric effects, with Gahan finally singing for once, without his usual over-the-top operatics.



"My Little Universe" works off a minimal palate of blooping and blurping electronics, building over the course of the track with ominously dark washes of noise.



The intense "Secret to the End" is a throbbing menace of bleak keyboards and thumping percussion.



Over the past couple of records, Dave Gahan's voice was starting to show the wear and tear of his years and past drug addictions, sounding weak and not very enthusiastic. Here, he seems to have gotten some more life back into his singing, and there are countless moments on Delta Machine where he sounds the best he has in years. On "Should Be Higher" Gahan's emotions pour out in the most honest and open vocal performance of his career,



and on first single, the brooding ballad "Heaven," Gahan's rich baritone eaves it way through the gilded piano chords and mournful nature of the track.



The issues I have with the record still are the fact that Gore seems to think he is a guitar player, and it is the tracks that are guitar-centric that are the least effective. The requisite bluesy guitar track "Slow" is Gore-by-numbers that sounds exactly like you think it will sound. "Soothe My Soul," which starts promisingly with a buzzy throb, ends up being this record's "Personal Jesus" with its similar guitar chords, which is then continued with the bland guitar stomp of closer "Goodbye."

But overall, this is one of their strongest post-Wilder records. It is just difficult to examine this band out of his shadow, always wanting that same restless ingenuity that he brought to their sound. But, if you can somehow forget that he was such an integral part to the band, you will likely end up enjoying this record. There are some really great tracks on the record, and it never sounds less than pristine. Can we ever expect more from Depeche Mode going forward? Most likely not, but I guess at this point we have to accept them for what they are and evaluate it from that perspective.

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: Depeche Mode - "Alone"

Depeche Mode's new record Delta Machine is slowly but surely growing on me, and tracks like the slow-burning "Alone" are helping with that.

New: Sigur Ros - "Brennisteinn"

First song from Sigur Ros' seventh album Kveikur, shows the band unleashing a much harsher edge. Love it.

Videos of the Week

This had to be the longest week ever. Here's to the weekend:



Cool, nausea inducing video from The Joy Formidable.



Sad song and video from Fryars.



Fun, grossout video from Norwegian metal band Kvelertak. Definitely NSFW.



Self shot video from The Men.



Crazy as shit video for Django Django.

Concert Watch: Knife Party - "Destroy Them With Lazers"

Excited to this act tonight. They put on an amazing set.

Jam of the Day: Jeremih/Shlohmo - "Bo Peep (Do U Right)"

Slick collaboration between singer Jeremih and LA beat maker Shlohmo.

New: The Postal Service - "Turn Around"

New track from The Postal Service appearing on the reissue of their record Give Up. It can be heard here on Seattle’s 107.7 The End.

New: The Juan Maclean - "You Are My Destiny"

New single from The Juan Maclean.

Jam of the Day: Suede - "Sabotage"

From their remarkable return to form album Bloodsports, Suede swing for the bleachers with this gorgeous track.

Album Review: Hurts - Exile

Hurts
Exile
Rating: Yeah Daddy Make Me Want It

English synthpop duo Hurts' first record Happiness really did nothing for me; a very slick and glossy record that seemed stilted and arch when it should have soared. I had no great expectations that their second record Exile would be any different. And for the most part, it is not so much different from its predecessor, however, there is more life and edge to these tracks that give their sound some much needed oomph. The production values are still pristine but the band allows room for things to get a little messier, adding a slight industrial feel to several tracks. One thing that struck me most about the record is how it sounds like vintage Depeche Mode (or I should clarify it to mean Depeche Mode with Alan Wilder in attendance) with a nice mix of dance tracks and moody ballads. In fact, I have gone on to say that Exile is the best Depeche Mode record in years. It is more apparent after listening to the new Depeche Mode album Delta Machine, which still finds Depeche Mode in stasis.

Opening track "Exile" announces pretty loudly that this is not the Hurts of old. A chugging bassline and synth squiggles rise to meet Theo Hutchcraft's elegant croon as it all builds into a furious mix of keyboards, thunderous drums, and glistening guitars. The track leaps out like a long lost track from Songs of Faith and Devotion.



This harder edge to their sound fits them well, from the grinding thump of "Cupid,"



the dubstep inflected whirl of "Mercy,"



hooky synthpop of "Only You" to the technicolor palate of "Miracle" which comes out stadium ready with a killer build and dramatic chorus.



According to the band, Exile was inspired by the Cormac McCarthy book The Road, which explains the much darker tone to the music and lyrics. There is relatively little levity here, which can make for a somber listen, but the band is very good at keeping the melodies catchy and throwing in some killer choruses, especially on the many ballads. The best track on the record "The Crow" reflects this; a slow building, dramatic song that builds and builds to its haunting climax.



The other ballads come in a mixed bag. The better ones like "Somebody To Die For"



fully embrace their slight heavy handedness knocking the tracks out of the park with amazing choruses, while others, like "The Rope" meander a little too much and don't really have much impact.



Exile is far from being a perfect record. Hurts' songwriting suffers from being a little too direct and mawkish at times and musically they have not really found and defined their signature sound. They fall back too many times on their influences: Depeche Mode here, Muse there, and a little M83 for good measure. Aside from these complaints, however, Exile is pretty solid pop record that keeps your attention, and is certainly more interesting and entertaining than the latest Depeche Mode album.

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: Savages - "She Will"

First taste from UK post-punk quartet Savages' debut album Silence Yourself.

Jam of the Day: Justin Timberlake - "Blue Ocean Floor"

Gorgeous, ambient closing track to his latest record. It is probably the best thing he has ever done.

New: Cold Cave - "People Are Poison"

Dark wave auteur Wesley Eisold releases another single under his Cold Cave moniker and adds a bit of Jesus & Mary Chain gloom to the proceedings.

Album Review: Suede - Bloodsports

Suede
Bloodsports
Rating: Grrrr

When Suede's last album A New Morning came out in 2002, the lukewarm response from fans and critics alike essentially killed the band, seemingly for good. Their first two records, Suede and dog man star, were fueled by tensions between singer Brett Anderson's rock star excesses and guitarist Bernard Butler's more reigned in personality. After Butler left the band, the resulting records Head Music and Coming Up were more fueled by drugs and Anderson's almost suicidal need to live the life of a rock star. The inevitable come down from all that resulted in their most toothless record, one that almost faded into the background. In the interim, Anderson worked with some other artists (including some work with Bernard Butler), released some solo material, and also reissued Suede's first albums with the assistance of Butler. In 2011, Suede quietly got back together again and toured in support of the reissues. I was fortunate to see them perform at Coachella that year, and even without the drug soaked excesses of the past to fuel him, Anderson was a commanding presence on stage, showing everyone in attendance what it meant to be true rock star and front man. Against all odds, Suede are now back with Bloodsports, finding original producer Ed Buller back behind the boards, giving this project a much needed focus and burst of energy. This record bursts forth from the opening chords of "Barriers" and pulses with life up until the final notes of "Faultlines." As with David Bowie's new record, perhaps it was a good thing to take a step back and regain the urge to record again. This record is not just a return to form for Suede, it is one of their best records.

Suede have regained their sense of drama and excess (within reason of course) and feel like they are truly putting together songs rather than just ideas of songs. From the skyscraping power chords of opening tracks "Barriers" and "Snowblind" there is no doubt that Anderson and Co. are back with some of their most focused material in years. First single "It Starts and Ends With You" is classic Suede, with crisp guitars and catchy hooks, Anderson in full lyrical swagger with lines like "And I've worn so many faces/shot my love at fifteen paces/my inheritance is all the thoughts I can't sweep away."



And the album just grows in stature as it progresses. "Sabotage" is the best track on the record, and one of Suede's best songs period. Soaring synths and guitars wind around each other as moody drums and bass propel everything to the killer chorus. Anderson's view of love and his lover as bleak as always: "No barriers, no boundaries for her/her touch is like a raven's shadow/Alone in the climate of her greed/her love is the shape of mother/her love is sabotage."



Songs like "Hit Me" retain the sass and attitude of early Suede while still remaining fresh and clean.



Of course, while sleazy, brazen Suede tracks are always wonderful, they truly excel on the ballad side of things, and Bloodsports adds many riches to their deep coffers. Mourning guitars highlight a gorgeous vocal turn from Anderson on "Sometimes I Feel I'll Float Away,"



"What Are You Not Telling Me" yields a beautiful piano melody and one of Anderson's most longing performances,



while closing track "Faultlines" finds Suede hitting on all cylinders, creating one of their most dramatic tracks.



I'm always hesitant to listen to bands who come back after a long absence. There usually is a faint air of desperation or money grabbing behind such efforts, however, in some cases like with David Bowie, it just took time for them to feel inspired again. Here, Anderson and compatriots obviously felt like they had something meaningful to say and went for it, creating a brilliant album that showcases their talent and ability to make amazing music full of drama and tension. Bloodsports is a welcome return for a fantastic 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.

New: Rustie - "Triadzz"

More sick UK bass music from Glasgow producer Rustie.

Jam of the Day: The xx - "Sunset (Kim Ann Foxman Remix)"

One of the standout tracks from The xx's second album Coexist gets a thumping house treatment that still retains the original's haunting elegance.

Album Review: Justin Timberlake - The 20/20 Experience

Justin Timberlake
The 20/20 Experience
Rating: Yeah Daddy Make Me Want It

Justin Timberlake's trajectory has been interesting to follow, what with leaving his mega-million selling boy band N'Sync to release his hit spilling debut record Justified, then completely going off the wall with his second album FutureSex/LoveSounds' robo-disco-funk. After a long 6 year hiatus from making music and focusing on his film career, Timberlake resurfaces with the Timbaland produced The 20/20 Experience. Those expecting another complete reinvention of his sound will be slightly disappointed as the record basically splits the difference between his more pop leaning inclinations and his experimental creations. Where he reigns in the weirdness of his last record a bit, he allows his tracks lots of breathing room, with only two tracks coming in under 6 minutes, and several well over 7 minutes long. For the most part, this approach works, giving the tracks intros, bridges, and codas, but too often these lengthy run times just seem like a case of poor editing, with several instances where the tracks can drag on interminably.

Of course for me, the best tracks are where Timberlake and Timbaland stretch their wings and try for something different than the norm. Specifically, The 20/20 Experience soars in the middle of the record with the trio of brilliant tracks "Don't Hold The Wall," "Strawberry Bubblegum," and "Tunnel Vision." "Don't Hold The Wall" starts out as a doo-wop like track before quickly getting weird with off-kilter percussion, and odd vocal samples, sounding more like M.I.A. than Timberlake; kicking into high gear midway with some sub-bass and mix of chanted vocals and dialogue samples.



"Strawberry Bubblegum" is an old school R&B sex jam in the Barry White mold, but subverted into a whisper, featuring lots of ambient textures and elements that pushes it more into EDM territory than R&B.



"Tunnel Vision" is probably the weirdest track, and therefore the most interesting. Jittery percussion and hyper-real samples dart in and out of each other, while Timberlake's voice is multitracked into gorgeous harmonies.



The one revelation on The 20/20 Experience is the closing track "Blue Ocean Floor" which sounds like a Frank Ocean song performed by Radiohead. Over sublime ambient keyboards and reversed pianos, Timberlake's haunted voice remains in complete control, moving easily between his lower register and falsetto, detailing a relationship falling apart with neither party able to make headway, Timberlake giving up trying, singing "If my red eyes don't see you anymore/And I can't hear you through the white noise/Just send your heartbeat I'll go to the blue ocean floor/Where they find us no more."



Despite these amazing tracks, the remainder of The 20/20 Experience is a bit of a mixed bag. Too often, the more pop/R&B tracks are hindered by the lengthy times. Songs like "Pusher Love Girl," "This Girl," and "Spaceship Coupe" are just not very interesting enough to warrant their length. First single "Suit & Tie" is standard JT by the numbers, though "Let The Groove In" picks up some pace, channeling some Off The Wall era Michael Jackson, but all momentum is lost with the extraordinarily maudlin ballad "Mirrors" which is sure to make its way on to many wedding playlists, awash in its sentimental Diane Warren-esque lyrics.

Ultimately, The 20/20 Experience feels like a holding pattern for Timberlake. While I appreciate that he is first and foremost a pop star, he has shown time and time again that when he does things out of the ordinary, he shines much brighter. The album for me is still very listenable and frequently brilliant, but its those pesky moments where he seems like he is on autopilot that it derails itself. I suppose I was just expecting much more from him this go around.

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: Beyonce - "Bow Down/I Been On"

Frenetic track from Ms. B, possibly from her upcoming 5th album. It's a pretty strange introduction to it, but at least sounds like she is willing to take some chances again.

Remix: Tegan & Sara - "Closer (Young Galaxy Remix)"

Young Galaxy remix the Tegan & Sara track "Closer" and replace the original's candy colored synth pop with more Talking Heads' like funk. It actually works.

Jam of the Day: Mutya Keisha Siobhan - "Lay Down In Swimming Pools"

Awesome R&B jam from former Sugababes, produced by Blood Orange's Dev Hynes, who helmed the latest release from Solange.

New: Depeche Mode - "Soothe My Soul"

Second peak at Delta Machine from Depeche Mode. This track is a little more meaty than first single "Heaven." Verdict is still out on what the album will be as a whole, but this track shows that the band hasn't slipped totally into soporific ballad territory.

Non-Album Track: James Blake - "And Holy Ghost"

Non-album track from James Blake finds him working a more ambient vibe. Overgrown, his upcoming album, is probably my most highly anticipated record for 2013.

Videos of the Week

Here it is, what you have been eagerly anticipating all week:



Performance and behind the scenes clip for the new single from The Strokes.



The lighting and editing create and eerie sense of menace in this clip from Family Band.



NSFW clip from Foals ups the sex and violence quotient.



Fairy tales get a modern updating in this clip from up and comers AlunaGeorge.



Trippy track gets an equally trippy video.



Over the top "origin" video of his favorite piece of equipment shows why Araabmuzik is a master at what he does.



Waaves more polished sound gets a more polished looking video set in a junkyard.

Jam of the Day: DJ Rashad - "Let It Go"

Crisp track that ping pongs back and forth between frenetic drum n bass and lighter footwork based programming.

Remix: Justin Timberlake - "Suit and Tie (Dillon Francis Remix)"

Sick remix of the JT single from Dillon Francis. Definitely takes it to a dirtier level.

New: Pet Shop Boys

New Pet Shop Boys album Electric to be released in June.

Video: Chlöe Howl - "No Strings"

Fun song from up and coming pop star .

Jam of the Day: Beatrice Eli - "Violent Silence"

More perfect pop from Sweden.

Jam of the Day: Young & Sick - "Continuum"

Gorgeous.

Album Review: Rhye - Woman

Rhye
Woman
Rating: Grrrr

Opening with lush strings, harp, horns, and a Sade-like coo, Woman immediately establishes itself as something subtle and haunted. The lyrics for "Open" are painful, the singer caught between the "gentle sting" of a love fading. That you believe the vocalist to be female is your first mistake, and over the course of the album creates a strange tension that subverts your take on gender roles and what constitutes the and feminine and masculine. Paired with Danish producer Robin Hannibal (of Quadron), Rhye’s vocalist Mike Milosh, a Toronto-born, Los Angeles-based singer, toys with the listener, using the upper range of his register to provoke feminine allusions, while dropping into the lower register on occasion to reveal his more masculine traits. The songs, all of which deal with relationships in some shape or fashion, take on a slightly schizophrenic air, as it feels like internal personalities are all jockeying for position. But ultimately what wins out on this record is that songs are so good. Using a minimal palate of strings, keyboards, and hushed percussion, Rhye comes across like Sade working with The xx, utilizing silence just as much as instrumentation. This approach comes across as fairly simple at first, but over the course of the record it reveals itself to be masterful, never adding too much or subtracting too much.

Woman provides a slew of amazing singles to sink your teeth into. The aforementioned "Open" is the perfect entry to Rhye's charms; the delicate instrumentation caressing the aching tones of Milosh's voice imploring his lover to stay with him.



"The Fall" is more spritely, with a subtle groove and broad piano chords belying the somber lyrics about another lover running away.



Other standouts include the gorgeous harmonies and doo wop choruses of "Major Minor Love." Almost no instrumentation begins the track, with only a subterranean bass and gentle drumming, before minimal piano keys are brought in with sting accents. Milosh's voice is all throughout the track, pushing and pulling it to its haunted conclusion. "Hunger" provides a disco workout, amping up the pace a bit, Milosh's breathy coo dancing around the slinky beats. "Shed Some Blood" sees Rhye hitting a sleek Sade-esque groove, crisp guitars gliding over tinny, skittering beats.

Throughout Woman, Milosh's voice is definitely the focal point. He knows just how to ache out the right emotion at the right time. Hannibal is the perfect foil for him, never overstating the musical accompaniment, knowing exactly when to add the right embellishment or let Milosh's voice alone do the work. On one of my favorite tracks on the record, "One Of Those Summer Days" is almost acapella aside from gentle Cocteau Twin-like guitars and sax accents. While on tracks like "Last Dance," synth stabs and horns push Milosh's wounded voice along adding just the right amount of framing. After a gorgeous harp intro, stunning mid-tempo ballad "3 Days" takes off with a lite jazz feel, the horns sliding in and out of the piano and bouncy keyboards, until the end when the strings overtake the track as Milosh's voice gets more and more despondent.

Woman is a gorgeous record that will completely captivate you with its intense spell. Milosh's androgynous voice takes a while to adjust to, but somehow it all works, even though you tend to lose track of what gender is singing. Like the debut album from The xx, which basically appeared fully formed, Woman arrives in its own hermetically sealed universe that almost can't be tampered with. It will be interesting to see what direction they take Rhye, but for now, it is a perfectly enticing universe.

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: Lapalux - "Without You (Ft. Kerry Leatham)"

Gorgeous track from Lapalux.

Album Review: David Bowie - The Next Day

David Bowie
The Next Day
Rating: Grrrr

From its defacing of the iconic album cover for "Heroes," The Next Day, David Bowie's 24th studio album and first record in 10 years, immediately announces itself as presenting the modern age Bowie through the refracted lens of his past work, specifically his storied Berlin trilogy. At 66, Bowie is no longer the restless chameleon who changed his persona and musical direction with each record; no longer does Bowie set trends or even attempt to stay in touch with current trends. The Next Day finally shows Bowie being comfortable with being Bowie, able to make music on his own terms without great expectations. Though this is Bowie's most relaxed set of music in years, perhaps decades, thematically it is one of his most introspective and melancholic, with these 14 tracks contemplating the past and the affects of age and memory, an album haunted by the ghosts.

First single "Where Are We Now?" is an emotional journey for Bowie, back 40 years to his time in Berlin, finding him "walking the dead;" the somber instrumentation adding to the weight of his memories. The ending of the track builds to an almost unbearable crescendo, as if the waves of memory upon him are too much to bear.



While second single "The Stars (Are Out Tonight)" is a dissection of current celebrity culture, seen through the eyes of a man who has lived through and experienced that rise first hand, where even out of the spotlight, "Stars are never sleeping/Dead ones and the living."



Aching and gorgeous, "You Feel So Lonely You Could Die" could be a tale of youthful arrogance and indifference paid back in kind by loneliness and regret in old age.



A lot of the tracks on The Next Day can be paired back with Bowie personas of the past. Sinister and edgy, "Dirty Boys"' skronk and pomp would fit neatly on The Lodger, while first and title track "The Next Day" recalls the clinical, robotic rhythms of his work on Station to Station, and "If You Can See Me" even works in a homage to Bowie's 90s fascination with jungle and drum and bass.



You could spend a vast majority of time trying to play spot the reference with this record. While this can be interesting and fun, it can ultimately detract from the most striking thing about this record, which is that with Bowie no longer attempting to be relevant, he has actually made his most relevant music in decades. Even in reflecting on the past and the dark nature of his themes, there is a lot of life in these tracks. "Boss of Me" is a dense, throbbing song underscored by nimble bass work and sax flourishes, bursting into the light on the roaring chorus.



Rockers "How Does The Grass Grow?" and "Valentine's Day," despite their rather gloomy subjects, war and school shootings respectively, each has a swagger and ease that are never heavy handed or forced. Only on a couple of tracks do cracks begin to show. "I'd Rather Be High" feels like a throwaway track with a rather pedestrian melody, while "Dancing Out In Space" is lamentably banal and silly.

But overall, The Next Day is a remarkable return to form for Bowie, a wonderful collection of past-referencing tracks that still sound fresh and modern without trying to sound that way. It's too soon to say whether this record is meant to be Bowie's last; the constant reflection on past personas and musical directions lead one to think that this is sort of a career ending retrospective. But somehow, I am sure this is the last we will hear of him. And even if it is his last record, it is a remarkable one to go out on.

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: AlunaGeorge - "Attracting Flies"

AlunaGeorge updates some old fairy tales in their video for their awesome single "Attracting Flies."

Jam of the Day: Theme Park - "Tonight"

Off their self-titled debut album is this very infectious single produced by Ed Macfarlane of Friendly Fires.

New: The Knife - "A Tooth For An Eye"

New track from their upcoming album Shaking The Habitual.

Videos of the Week

It's Friday bitches, let's get it on:



Delightfully surreal video from Beach Houses.



Bloody video from Phoenix.



Gorgeous sci-fi themed video from CHVRCHES.



Up and coming UK pop singer Chloe Howl.



Minimalist video from Kate Boy.



Hauntingly beautiful video from Houses.



Hazy video from ethereal duo Psychic Twin.

Concert Watch: Major Lazer: "Keep It Goin Louder"

Major Lazer is at the Masquerade tonight and it is going to be amazing.

Jam of the Day: Gent & Jawns - "Turnup"

Awesome track.

New: James Blake - "Digital Lion"

Wow, two songs in one day from the upcoming album Overgrown from James Blake. "Digital Lion" harkens back to his early EPs, which thus makes it completely fabulous. It can be heard here at 1-800-Dinosaur.tumblr.com.

New: James Blake - "Voyeur (Dub)"

Dub version of a new track off James Blake's upcoming album Overgrown. So far I am loving the tracks I am hearing.