James Blake: Enough Thunder EP - Album Review

James Blake
Enough Thunder EP
Rating: Meh

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

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



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



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



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



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



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

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

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

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

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

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

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

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

Nero: Welcome Reality

Nero
Welcome Reality
Rating: Grrrr

I love being surprised. Most dubstep/DnB artists are generally singles driven, never releasing full albums, sometimes putting out the odd EP here and there, but usually trying to stay on the pulse of the new, keeping their name and sound out there. Nero, the duo of Daniel Stephens and Joe Ray, have always seemed a little outside the norm, performing live on occasion in addition to traditional DJ sets, releasing longer form EPs, and putting together their songs and videos in ways that allude to something greater than the parts alone. Last year, I fell in love with their track "Innocence," which made it into my top 10 singles of 2010. At the time the track was out, Nero had been announcing that a full-length album was in the works, of course, this being a dubstep act, I assumed it was merely bluffing. For the longest time it seemed it was all an act, as more singles/videos were released and several more EPs. I didn't have high hopes for anything more. Strangely, I was shocked to see that they actually released Welcome Reality. At first glance of the track listing I saw all the singles that had been released in the past year along with a few new tracks. Being ever the cynic, I believed it would be the usual cheap ploy of trying to cash in on their growing popularity, a few singles along with a lot of boring filler. While the whole album is not completely killer, the singles along with the new tracks (and couched in a bit of prog rock/hoo ha concept about a dystopian state) work together well and have a sense of drama and purpose that is missing from a lot of releases these days.

Let's touch on the already slamming singles they've released. "Innocence" is still one of the most dramatic, gorgeous dubstep tracks out there. The builds and releases are masterful. Alana Watson, who sings on a lot of the album tracks, but is not an official member, provides her excellent vocals.



"Me And You" is a brilliant, pop leaning song with an 80s synthpop coupled with a buzzy 90s rave feel



"Guilt" features an amazing vocal turn from Watson, that retains the same sense of drama from "Innocence."



And latest single "Promises" is a synth buzzy rave-up with a driving energy that is infectious.



Most of the remaining songs, while not having the energy or perfection of the initial singles still are far more than filler. "My Eyes" is all throbbing, sexual energy, released in a frenzy of screaming synth blasts.



"In The Way" is a welcome comedown from all the high energy singles. It is akin to a dubstep interpretation of trip-hop. Sinister and buzzy, it could fit well on Massive Attack's Mezzanine.



Surprisingly, the dubstep cover of The Jet's "Crush On You" is not the howler it could have been, and actually grows on you past the initial WTF? moment.



The rest of the songs range from innocuous pop confections ("Must Be The Feeling" and the Daryl Hall sampling "Reaching Out"), to meandering electro ("Scorpions" and "Fugue State"), and orchestral instrumentals ("2028" and "Departure"). While not standing well on their own, within the sequencing of the album add needed variety and texture. Welcome Reality is not exactly what I would refer to as a classic album, or one that the is totally original, however, the singles alone are worth the price of the album, and truly are masterful pop singles. The rest of the album holds your interest and even exceeds expectations, plus it is just and exciting sounding record. I also definitely suggest checking Nero out live, even if it is just a DJ set; the same energy and pacing comes across even more.

Rating Guide

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

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

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

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

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

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

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

Azari & III: Azari & III

Azari & III
Azari & III
Rating: Grrrr

2010 was the year everyone seemed to be on a 90s rave kick, every dance song flavored with glow sticks and ecstasy, and now 2011 is the come down from the excess, songs haunted by the hangovers of the the night before. Canadian mystery R&B collective The Weeknd detail nights of debauchery and shifty morality, unable to hide the shame in the blaring morning light. Similarly, Canadian house music group Azari & III also deal with the effects of all night partying, however, instead of focusing on the seediness of it all, there is much room for joy and excitement amidst all the darkness. Drawing from artists like Soul II Soul, Massive Attack, and newer acts like Hercules and Love Affair, showcasing an affinity for deep Chicago house. Azari & III are made up of Alphonse Lanza and Christian Farley on the boards, with two front vocalists, soul diva Cédric Gasaida , who is full revelry mode, tempered by the deep pulsing counterpoint voice of Fritz Helder, acting as the world weary guide to the proceedings.

The album begins with the delightful house trifle "Into The Night" chronicling the excitement of getting ready for a night of clubbing, the building energy of the hunt for sex and pleasure.



The rest of the album takes on the cycle of a night out, the highs and lows, the relentless pursuit of taking the evening to the next level. Azari & III is chocked full of amazing singles, but what could have felt like a half-assed collection of hit singles littered with forgettable filler, is expertly crafted to flow seamlessly and takes the listener on a journey.

"Reckless (With Your Love)" whose Tensnake remix was one of my top singles from last year, appears here in a slightly different, original mix. Where the Tensnake mix was all highs, the original mix is all low end bass, slinky Soul II Soul-like drums and keys, getting darker and darker as the song goes, the spiralling AIDS referencing tale of a clubber carelessly living a life of debaucherous sex.



"Hungry For The Power" utilizes the two vocalists perfectly, Cedric's voice emotional and raw, Fritz' acting like a Greek chorus in his head.


Rating Guide

"Manic" is a four-to-the-floor anthem, which answers the question what would happen if Prince, Daft Punk, and the DFA label joined forces:



"Undecided" is a great synth-pop/electro track, with slinky synths winding around the ever manic vocals, touching almost on the industrial of Nitzer Ebb.



"Lost In Time" is a snaky, synth heavy house charmer.



"Manhooker" is all sleazy, electro-house menace; a 2000s update on "I Feel Love."



The remainder of the album is completed with more experimental, instrumental tracks that touch on icy, minimalist techno ("Tunnel Vision"), hard-edged deep house ("Indigo"), and Carl Craig Detroit techno ("Infinity"). The album is impeccably produced and sounds amazing. There is essentially something for every electronic music fan, from those that love to hit the dance floor to those who prefer being cocooned in a headphone haze. The thematic elements connect all the loose strands and make this debut a cohesive narrative. Highly recommended.

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

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

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

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

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

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

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

CHLLNGR: Haven

CHLLNGR
Haven
Rating: Meh

I recently reviewed the new electronic music cd from Machinedrum that attempted, somewhat successfully, to marry a slew of differing music styles with UK bass' penchant for using warped vocal samples. However, the album as a whole left me wanting more. Although CHLLNGR and Machinedrum don't necessarily sound alike, both draw liberally from the dubstep well on their albums, while coming up with similar problems. Unlike Machinedrum, CHLLNGR uses a very monochrome palate, allowing skeletal beats and wobbly bass to frame minimal electronic backing, shifting focus to gentle washes of keyboards, and again, like Machinedrum, to heavily treated vocal samples. CHLLNGR doesn't cut and manipulate the samples as readily as Machinedrum, instead, allowing them to drag out and flow hypnotically over the tracks. Listening to individual tracks makes for an interesting listen, however, over the course of ten tracks it begins to lose its lustre, and blunts the impact of the album.

But there are some great tracks to dig into on Haven. "At Last" pulses and throbs menacingly, with a click track beat and ominous metallic keyboards. "Sundown," one of the few tracks with actual vocals, contrasts the warmth of Coco O's voice with the icy-cold backing.

CHLLNGR - Sundown by Uwe Uzi

Lead track "Ask For" mixes wobbly bass, hip-hop beats and keyboards, with pitch-shifted vocals that actually becomes one of the highlights of the album because it doesn't sound like anything else. I actually wish CHLLNGR had pursued this path more.

CHLLNGR -Ask For by Sound Injections

Title track "Haven" works off the Burial template effectively, warped vocal samples echo off atmospheric keyboards and rumbling bass.

CHLLNGR "Haven" by CHLLNGR

"Out Of Your Hands" slides against heavily manipulated vocal samples and keyboards, sounding like calls from a foggy street. And "Dark Darkness" creates the same ominous mood, but with the echoing vocals feeling like voices in your head, taunting you.

But while these tracks work fluidly together, the rest of the album just lays there rather inert. Too many tracks are just mood and no texture, and like the issues I had with the Machinedrum album, the vocal samples and vocals are just not distinct enough to make the songs stand out. "Dusty" is just throb and warbled samples.

CHLLNGR - Dusty (feat Jessica Brown) by nwsm

While "The End" never seems to gain a pulse, the whoosh of synthesizers and bland soul vocals failing to add any interest.



The remaining tracks are not horrible in any way, they simply lack any distinct element that prevents them from being removed from my hard drive. Haven's issues are similar to those I had with Machinedrum, but where Machinedrum's vocal samples were thematically indistinct he at least changed up his sound enough to where the music was always interesting. Here, CHLLNGR's music fades into the background, which pulls the vocal samples along with it, making it a decent, yet unmemorable album.

Rating Guide

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

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

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

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

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

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

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

Machinedrum: Room(s)

Machinedrum
Room(s)
Rating: Yeah Daddy Make Me Want It

Producer Travis Stewart uses several monikers for his music, but is probably best known for Machinedrum, excluding the fact that he doesn't really have a signature sound under that name, using it mostly to indulge whatever genre that is striking his fancy. Previously he has traveled from deep house, to IDM, to gitch-hop, and sometimes utilizing all three at once. Apparently Stewart is enamored at the moment with UK bass music, as Room(s) sports his take on dubstep and two-step, while also throwing in all of his previous fascinations. Musically, Room(s) can be daunting and schizophrenic, with each track whiplashing the listener back and forth seeking dominion. While the overall tracks are not truly linked via musical style, the two things that do connect them are that each track is almost filled to bursting with ideas, so thick it is almost touchable, and by Stewart's use of vocal samples. He borrows heavily from the Burial school by taking snippets and warping, twisting, and manipulating them into whatever emotional context suits the track. But where Burial uses them sparingly, creating loneliness and a haunting allure, Stewart clips them, cuts them, almost using them percussively.

The less traditionally UK bass-style tracks work the best on the album. Tracks like "GBYE" which cut up vocal samples into percussive streams and interplays them with dizzyingly busy percussion and staccato synths.



"Come1" takes on house music and makes it all about the build with very little release, releasing the tension in measured strokes.



"Now U Know The Deal 4 Real" creates a unique pairing of electro house with the sterile R&B gloss of acts like The Weeknd and Drake.



Stewart even gravitates towards Flying Lotus LA beat music on the track "Sacred Frequency," which is all loopy beats and psychedelic swirls of keyboards.



I also really enjoyed the gorgeous Burial-like track "The Statue" with its minimal, skittering two-step beat, ghostly keyboards, and the haunting vocal sample stretched and manipulated into a lament.



There are very few missteps on Room(s). The only tracks that don't really speak to me, mainly fail from lack of ideas, spinning in place without truly going anywhere (though as a caveat, the album is always impeccably produced). "Lay Me Down" is rather tepid two-step, looping the same drum track and vocal sample over its 4:00 running time. "U Don't Survive" reminded me too much of Weekend Players' house/trip-hop hybrid. And the loan IDM track, "Where Did We Go Wrong," merely feels like a Boards of Canada demo.

I loved the thickness of this record and the almost sensory overload it gives you. Many times while listening to it on headphones, I had to take them off to give my overworked ears a rest. But there is just something about Room(s) that never seemed to burrow deeper within me, and make me love the album rather than merely appreciating it. There is just not a lot of connection with it, no sense of taking a journey and reaching your destination, and perhaps that is because there really isn't a unifying feature to the record aside from the vocal samples. Perhaps if, like Burial, he had kept a tonal consistency over the course of the tracks, that connection would have taken hold. Alas, Room(s) is a beautiful record, but just falls short of adoration.

Rating Guide

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

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

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

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

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

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

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

Little Dragon: Ritual Union

Little Dragon
Ritual Union
Rating: Meh

Swedish electro-pop act have slowly been building buzz over the past few years, releasing two albums of jazz and R&B tinged electronic pop, and lead singer Yukimi Nagano has seemingly popped up everywhere as a guest vocalist on a slew of high-profile albums from Gorillaz, SBTRKT, Koop, and Maximum Balloon. So the release of Ritual Union should be the album that propels them to worldwide success, right? Their first self-titled album leaned heavily towards R&B and jazz, which was then honed to a more electronic edge on the follow up Machine Dreams, which appeared to indicate that they would move to a more electronic pop sound going forward. Instead, Ritual Union is a strange addition to their catalog. While it leans to a more electronic base, it focuses more on minimalism and textures rather than hooks. Previously, Little Dragon would abandon sounds that didn't seem to work, always moving forward. Here, it almost appears that they are focusing solely on sounds that don't work, leaving Ritual Union as a well-produced album that doesn't feed the soul.

And the album is very well produced; clear and clean, with all the elements working well together. The focus unfortunately is on the sound of the record and not the heart of the songs. What should have some emotion heft is clearly lacking, and the cold sterility of the songs becomes oppressive. Title track and lead song "Ritual Union" is the perfect example. It is a lush, poppy electro song, that should pulse and throb, but instead just languishes under bloopy/whooshing synths. Nagano's jazzy vocals merely hover over the beats but don't provide any meat.



"Little Man" sounds like it was cobbled together using keyboards bought at a neighborhood Target.

Little Dragon - Little Man by twelvemajorchords

"Brush The Heat" is all texture and no melody.



When Little Dragon finally kicks in and plays to their strengths they put together some fantastic pop music. "Shuffle A Dream" is all bouncy/sparkly synths and sassy vocals.



"Nightlight" works a funky, quirky synth vibe.



Not that some of the more moodier tracks are not as good. The end of the album features a couple of standout electronic/ambient tracks. "When I Go Out" uses almost typewriter-like percussion skittering over an auto-tuned vocal from Nagano.



And "Seconds" features one of Nagano's most delicate vocals, smoothly filtering through an electronic lullaby. It's just that the rest of the album floats along under half-baked musical ideas that don't really work. "Please Turn" is all synth drones and narcotic vocals. "Summertearz" overworks a squonky bed of keyboards and another inscrutably obtuse vocal. Even a mid-album song like "Precious" can't save things; its dubstep-influenced bass, skittering percussion, and wonky synths work for awhile, before become just another mess of overproduced synth noodling.

I had very high hopes for Ritual Union, thinking it would be the album that would break the band big. Unfortunately, it is like they got cold feet and decided to retreat more into an "experimental" state. While I appreciate their willingness to stretch their sounds in new directions, by focusing on their weaknesses they have almost ruined their forward momentum. While Ritual Union certainly is not an embarrassment, it is definitely not going to be the blockbuster most people have expected from them.

Rating Guide

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

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

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

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

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

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

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

John Maus: We Must Become The Pitiless Censors Of Ourselves

John Maus
We Must Become The Pitiless Censors Of Ourselves
Rating: Tragicistani

Pretentious, juvenile, hipster, grating, annoying, amateurish, poorly produced, weak song writing; these are some of the words that come to mind when listening to John Maus' opus of horrendousness, We Must Become The Pitiless Censors of Ourselves, which by the title alone attempts to announce itself as high art. Wikipedia's entry on him is equally pretentious, noting he is working on a PHD in political philosophy, was expelled by the university for "malfeasance," and that his interests in music switched from experimental music and performance art to "Pop Music" (capitalization from the original) after working with Ariel Pink as a keyboardist. From the first mention of Ariel Pink, I should have known I was going to have issue with this record. Ariel, however, while mostly a train wreck, knows how to put together a great pop song. Maus, on the other hand, has far too many ideas and no clue how to put them together coherently. Somewhere in this mess of an album are some sparks of ideas that are screaming for a producer with a heavy editing hand, unfortunately, Maus never gives them any life whatsoever.

"Streetlight" begins with bargain basement synths and canned drum beats under moaning, distorted vocals, sounding like Peter Murphy/Ian Curtis drunkenly slurring through a megaphone at the bottom of the ocean.



And it just gets more painful there. "Quantum Leap" matches Maus' carnival freakshow vocals with screaming guitars, chunky bass, and casio keyboards. When it finally locks into sort of a groove, Maus kills it with a painful, screeching guitar solo.



Possibly the worst song of the year is the torturous ear worm that is "Matter of Fact," cribbing Munsters-style organ and keyboards over a clompy beat, and sing-songy vocals that are impossible to get out of your head due to the infantile nature of lyrics such as "pussy is not a matter of fact."



The album sounds like it was recorded in a wind tunnel, with the instrumentation mashed together like oatmeal, impenetrable and uninviting. "And The Rain" is all one tone, like cats banging on instruments.



"Keep Pushing On" feels like leftover chillwave mixed with the sound the killer makes in Friday the 13th.



"Head For The Country" takes early 80s funky synths and tinny drum machines with Maus' portentous vocals, then apparently hits the presets on his analog keyboard to use every single sound he can.



There is almost little to like on this record. The only small glimmers of hope are on the cover/remake of Molly Nilsson's "Hey Moon." Sung with Nilsson, the low-key instrumentation suits the lovely ballad, and for once, working with Nilsson's beautiful voice, Maus' voice is bearable.



"The Crucifix" has an Speak And Spell-era Depeche Mode charm to it, though Maus finds a way to ruin it with ridiculous vocals and lyrics.



And "Believer" actually has a good mix of driving bass and chiming synths that anchor the song instead of letting it fly all over the place. It is one of the few songs that actually feels like a song.



I guess I just don't "get" this record. Looking at the nauseatingly obtuse PR release from the record label, this is what I am supposed to understand:

"Unlike the last two albums, 'Pitiless Censors' looks towards the future in all its absurdity. It's a record where promise takes the lead for the first time, providing a counterpoint to John's default existential calling....
The everyday realm where our lives seem both familiar and equally strange is where John Maus resides. His surreal touch is disarming, opening our eyes to the reality outside the four walls. Perhaps we're all like "the human being who finds himself in the locker" in "Head For The Country" in that, if we surprise ourselves and open the door, we can let the light in despite the storm."

The release gets the absurd part of the record correct, that is for sure. And poor production and mixing is not a "surreal touch," and is certainly not what is the only disarming thing about this album. I like experimental music, however, it has to be done with some sense of purpose. This record has absolutely no purpose whatsoever.

Rating Guide

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

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

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

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

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

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

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

When Saints Go Machine: Konkylie

When Saints Go Machine
Konkylie
Rating: Woof Daddy

Remember during the Alan Wilder years of Depeche Mode, how with each album the band experimented with sound, meticulously pouring over each track to make something new and interesting? There was always the "Depeche Mode" sound, but they were always pushing at the boundaries, so it remained fresh. Once Wilder left, the band basically went on autopilot, focusing more maintaining their success rather than striking out in any new directions. Perhaps back in the 80s-90s bands were working with limited equipment and were having to work to create new sounds. Now, anyone with a laptop and an Internet connection can make music, and that sense of wonder and imagination has sort of faded. Every once in awhile, a band or artist comes around with that spark of trying something different and challenging, but working in the realm of pop music. Danish quartet When Saints Go Machine, led by otherworldly vocalist Nicholas Vonsild, don't necessarily sound like Depeche Mode, other than the fact both primarily use synthesizers, however, they share the same restless creativity Depeche Mode enjoyed during their mid-80s tenure. It is actually quite difficult to describe the band's sound. Imagine a cross between the heavily treated electro-pop of The Knife and Fever Ray, the fluttering, archly fey vocals of Antony Hegarty, and the house music stylings of Hercules and Love Affair, and you might get slightly close to their sound. Instead of spending time trying to spot the influence, it is better to just allow the waves of quirky synth-pop wash over you. Word of caution, however, you will either love Vonsild's voice or will hate it. While it is not as polarizing as the lead singer of WU LYF, it still has some definite quirks.

Konkylie doesn't sugar coat things from the beginning. Leading with one the albums most challenging tracks, Vonsild's vocals rise out of a fog of amorphous synthesizers, mutitracked into a chorus of avant garde angels, lifted by twinkling keyboards and horns.



"Church and Law" begins almost like a Renaissance ballad before the bass synths kick in for a lush mid-tempo pop number, filled to the rim with quirky synth tones.



Konkylie straddles the line beautifully between all out pop bliss and darker, edgier tracks. I am slightly more partial to the more mainstream pop tracks, as Vonsild's voice tends to work better when it is reigned in slightly. "Terminal One" is by far the most pop friendly song, Vonsild's voice in a lower register, backed by a funky backbeat and spritely synths.



"Chestnut" is darker, yet still has a more mainstream edge, Vonsild singing in a baritone, staccato bursts of electronics punctuating the liquid mix of beats and synths.

When Saints Go Machine - Chestnut by WalterHeape

"Kelly" is all sunshine keyboards and melodies, perfect for a summer day.



And "Parix" is probably the best of all When Saints Go Machine's worlds, featuring a mix of Vonsild's low-key approach with more fluttering/multi-tracked flights, lying on beds of burbling synthesizers.



This is not to say that I don't enjoy their more experimental tracks. I believe Konkylie would not be the success it is without the mix of pop songs and avant garde tracks. This mix definitely shows the band's range and depth. The whooshing synths, cooing vocals, and strange use of vocal samples on "The Same Scissors" is the perfect bridge between the two approaches.



"Jets" uses a chugging afro-pop beat over deranged synth loops, getting more and more percussive as it unfolds.



"On The Move" and "Whoever Made You Stand So Still" form almost a mini-suite of classical leaning ambient music, with Vonsild taking the most chances with his vocals.




Konkylie is endlessly inventive and fascinating; a pure joy of pop thrills and ceaseless creativity. It is highly recommended for anyone who enjoys stepping outside their comfort zone.

Rating Guide

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

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

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

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

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

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

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

Alex Clare: The Lateness Of The Hour

Alex Clare
The Lateness Of The Hour
Rating: Yeah Daddy Make Me Want It

Over the past couple of years, dubstep has slowly been infiltrating pop music and away from pure bass aggression. Artists as diverse as James Blake, Katy B, and Jamie Woon are adding dubstep textures to their music. Even the first single from Britney Spears' latest album threw in a dubstep break. It is only a matter of time before it is fully embraced by the mainstream, and one indication is the debut album from British singer Alex Clare, The Lateness of the Hour. Produced by Diplo and Switch, the album showcases Clare's soulful voice, but chooses to take the opposite route of traditionalists like Adele, and allows for more wobbly dubstep bass and other international styles, like Moombahton and Reggaton, that Diplo has soaked up over the years. The first half of the album is almost perfection, each track building off the next, taking chances, adding subtle effects and textures. The back half, unfortunately, takes a hug nosedive and never really regains control. What could have been a classic debut album merely becomes a promising one.

Leading off with "Up All Night," the album kicks into full gear with a blast of reggaeton/punk, the pounding drums pulsating under pile-driving guitars.



"Treading Water" begins several notches down, focusing on Clare's beautiful voice over cautious keyboards, before the skittering drums and wobbly dubstep bass enter the picture and take this gorgeous track to another level.



"Relax My Beloved" is the most dramatic and haunting track on the album. Tension filled and ominous, like a blues lament from hell, it clearly is one of the highlights of the album.



"Too Close" also ratchets up the drama, taking almost true hardcore dubstep bass at the chorus, making it stand out in the crowded pop music field.





"Too Close" has recently been featured in an ad for Bing and Internet Explorer.

Despite a misjudged cover of Prince's "When Doves Cry," the album continues with album highlight "Hummingbird," the simplest and most heartfelt song on the record. Minimal instrumentation never detracts from Clare's impassioned vocal.



The remainder of the album, unfortunately just doesn't live up to the first half. "Hands Are Clever" starts the downward spiral, beginning strongly with blasts of funk horns and guitar, but descending to almost comical levels on the chorus, sounding like a third rate Sly Stone cover band.



"Tightrope" and "Whispering" are fairly minimalistic tracks that oversell their dubstep trappings. And the final two tracks, the ballads "Sanctuary" and "I Won't Let You Down," suffer from being over-top and too minimal, respectively. Only "Love You" retains the magic of the first half of the record, evoking the sound of recent solo work from Jamie Smith of The xx.



Although the back half of the record lacks the immediacy of the front half, it is still undeniable that Clare is an artist to watch. It just appears that Clare might have been apprehensive about making an album that was entirely dubstep influenced, and tossed in some tracks that would make the album more palatable to a wider audience. Instead of making the album better, it just shows how the dubstep tracks support his vocals better. Based on the first half of the record, however, I am still anxiously waiting to see what else this guy can do.

Rating Guide

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

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

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

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

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

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

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

Com Truise: Galactic Melt

Com Truise
Galactic Melt
Rating: Meh

Although he works under numerous monikers, Seth Haley is best known for his work under the Com Truise name, mixing heady 80s electronic synthpop with a more overtly funky tone. His Cyanide Sisters EP brought him much welcome attention, showcasing his natural, low-key style. Galactic Melt doesn't necessarily divert from that approach, instead, choosing to refine and hone that sound, somewhat to diminishing returns.

After a brief, ominous intro track, the album kicks off with a three track trifecta that really showcases his style. "VHS Sex" is all deep bass, crisp drum programming, and cool sex appeal.



"Cathode Girls" mixes skittering bass with melting synth blasts.



And "Air Cal" sounds like a bizarre collaboration between Boards of Canada and some 80s R&B band; pastoral electronic funk.



After this brilliant opening salvo, Galactic Melt doesn't so much lose focus as suffers from a bit of monotony. Haley sticks within the same parameters which tends to make most of the tracks bleed into one another. Each song has the same enigmatic synth opening, pitch-shifted samples, funky bass synth, and crisp drum machines. "Flightwave" and "Brokendate" are almost the identical song.





"Glawio" meanders along lazily with no real sense of adventure or purpose.



And "Ether Drift" lives up to its title, drifting hazily along with twinkly keyboards; the midpoint electro break not enough to rescue the song from tedium.



"Futureworld" at least closes out on a high note, the low, funky bass lines anchoring the frenetic synth runs, echoing the work of early Future Sound of London.



There is nothing about Galactic Melt that is horrible in any way. The production is clean and crisp, and it sounds great. Haley is obviously a very talented producer, however, what worked well on his short form EP, gets a little lost in translation on a full length. With more variety and better pacing, those small issues will easily be resolved. We'll just call this a slight misstep, but still a producer to watch.

Rating Guide

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

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

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

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

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

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

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

AraabMuzik: Electronic Dream

AraabMuzik
Electronic Dream
Rating: Grrrr

AraabMuzik, Rhode Island producer Abraham Orellana, is more known for his work in hip-hop circles, crafting beats on his MPC drum machine for artists like Cam'ron & Vado, Jadakiss, Busta Rhymes and Fabolous. With the release of his mixtape Electronic Dream, AraabMuzik confounds expectations by creating one of the strangest and most eclectic collections of genre mashing. The album almost reads like a history of electronic music; breathlessly moving from hip-hop, electro, house, techno, bass music, and beyond. If there is one section you don't enjoy you need only wait a few seconds for it to transition to another genre.

The front quarter of the album leans heavily towards house music with judicious use of diva vocal samples, tweaked slightly, but punctuated with crisp, gun-shot forceful drum programming. Using a sample from Jam & Spoon's "Right in the Night (Fall in Love With Music)," "Golden Touch" slinks along on a trance bed of house beats before being cut up by his darker beats.



Utilizing DJ Nosferatu's "The Underground Stream" on "Underground Stream", AraabMuzik builds almost unbearable tension with his beats and snippets of vocal screams, before a hardcore techno breakdown takes it home.



The mid-section becomes more pronounced with rave-like movements, like the anthemic synths of "Lift Off."



While the back end of the album languidly take things home. "Feelin So Hood" could fit easily within the Brainfeeder catalog alongside Flying Lotus and Teebs. Skittering, nervous percussion playing around a Starchaser sample.



Ending track "Lost In A Maze" borrows and tweaks post-dubstep's use of pitchshifted vocals over stuttering clips and clops.



Electronic Dream speaks to me because of its restlessness and ingenuity, and while it sounds warm and inviting, it is not overproduced within an inch of its life. Also, the beats and use of odd samples always keeps you a little on edge, ratcheting up the tension then releasing it in a whirl of synths. It is an exciting album that announces a new talent to watch closely.

Rating Guide

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

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

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

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

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

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

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

The Horrors: Skying

The Horrors
Skying
Rating: Grrrr

The Horrors jumped onto the UK music scene in 2007 with a campy, proto-goth/rockabilly hybrid mixed with a strong visual sense of foppy clothing, dark makeup, and intricate hairstyles. After the release of and EP and their debut LP Strange House, they had seemingly reached the crossroads for their sound and image. Would they continue to head down the path of influences like The Cramps, making essentially the same record for their entire career, descending further into novelty territory, or would they set out towards different vistas. No one, least of all me, could have envisioned the tremendous leap in sound for the follow up album Primary Colours. Ditching the goth affectations completely, they showed a stunning mastery of post-punk, krautrock, and shoegaze, blending these and other genres into a call to arms, hereby announcing the reinvention into one of the most exciting bands of the last few years. Again, such an amazing transformation begs the question again as to where to go from here. Skying finds the band honing their sound rather than making a bold leap. That intense slap in the face you got from first listening to Primary Colours is absent here, and first listens can be puzzling, as there is really nothing new here from the band, however, over time, the strong melodies and increased confidence/maturity in their playing wins over.

Produced by the band, Skying plays like a band wanting to expand and add depth to its sound. Keyboards are more prominent and bolder, drums boom and echo, and singer Faris Badwan all but abandons the tics and mannerisms used previously. First single "Still Life" is the perfect example of their new approach. Keyboards sparkle and glisten like outtakes from New Gold Dream era Simple Minds, with Badwan's vocals, understated and rich, blasting to new levels on the triumphant chorus.



This more accessible Horrors is evidenced throughout the record. Lead track "Changing The Rain" is all languid synths, muted beats, and droning guitars. "Wild Eyed" uses crisp drums and delicate string synths to cushion Badwan's luscious croon.



"You Said" brings in horns that balance out the ever deepening sound.

The Horrors - You Said by apartmandairesi

While this new side of The Horrors adds new depth, an entire album of this might prove to be monotonous. Skying really shines when this clarity is muddled with some of their now trademarked experimentation. "Dive In" uses chiming guitars and rollicking backbeat to draw you in gradually, to then erupt at the chorus with blasts of guitar drones.

The Horrors - Dive In by apartmandairesi

Likewise, "Endless Blue" begins with ringing guitars, delicate keyboards, and horns, sounding like a 50s era ballad before the guitars begin snaking up from the mist.



The back end of the album finds the band honing the krautrock/shoegaze sound they employed on Primary Colours. The expansiveness of the tracks allows the band to paint outside the lines. "Moving Further Away" glides and shimmers under a motorik beat, hazy synths, and a chugging bass line. Midway changing to an epic blast of guitar effects.



While closer "Oceans Burning" adds a more psychedelic bent to the proceedings. Dreamy, flanged guitars meander over ghostly chimes for the first half of the track, evolving into a raveup of driving bass, drums, and eerie guitars. The only true misstep on the album is the track "Monica Gems" which finds Badwan affecting his histrionic vocals from Strange House over a cacophony of scraping guitars. It just feels out of place on the album, and perhaps an attempt to pull back in some listeners who bolted when they changed direction with their sound.

Like the band Liars, so far The Horrors confound expectations with each release. Restless and experimental, they enjoy pushing the envelope, taking their sound in new, unexpected directions. While this is not the huge stylistic leap that Primary Colours was, Skying takes chances, especially with Badwan's vocals, pushing them forward in the mix, finding him with a supple, gorgeous voice. Skying is a perfect addition to their evolving catalog.

Rating Guide

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

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

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

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

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

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

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

Mini-Reviews: Peter Murphy, Holy Other, Ford & Lopatin, and Planningtorock

Peter Murphy
Ninth
Rating: Yeah Daddy Make Me Want It

Ninth is a nice return to form for the ex-Bauhaus singer. While it is no Deep, it is his most consistent record in years. His lovely baritone is still what draws you in to this set of guitar heavy tracks. Less experimental than his most recent work, Ninth finds him putting forth rich melodies and catchy hooks, like the driving "Seasaw Sway," the stately "The Prince & Old Lady Shade," and the industrial grind of "Uneven & Brittle." He only falters on some overly melodramatic numbers like "Secret Silk Society," "Velocity Bird," and "Peace to Each." Aside from these missteps, it is a very solid record, and easily fits alongside his best work.

Holy Other
With U EP
Rating: Yeah Daddy Make Me Want It

Mining similar territory as artists like Burial and Desolate, Manchester producer Holy Other releases his first EP of stark, haunting post-dubstep. The 5 tracks each unfold slowly, usually over a deliberate percussive bed and minimal synth washes, vocal samples pitch-shifted and heavily reverbed. After the first couple of tracks, it almost feels like he has shown his cards and that you are listening to a one track pony, but by the time "Touch" appears, the gradual evolution of his sound unfolds. The songs get more aggressive and bold, featuring skittering percussion and lots of low end bass rumbles. Title track "With U" builds forcefully like a Fuck Buttons song, with the vocal samples and string synths merging into a lovely coda. "Feel Something" rounds out the EP with clanging, industrial percussion over heavily edited vocal samples. With U is a nice introduction to a new electronic artist that reminds me of the early work of James Blake and Mount Kimbie, who showed their range and experimentation on their first EPs.

Ford & Lopatin
Channel Pressure
Rating: Yeah Daddy Make Me Want It

Formerly known as Games, Ford & Lopatin is Joel Ford of Tigercity, and Daniel Lopatin, the drone artist known as Oneohtrix Point Never. As Ford & Lopatin, they focus heavily on technicolor synthpop and R&B, almost sounding like a cross between Prince, Lisa Lisa and Cult Jam, and the soundtrack from Weird Science. Channel Pressure is one weird trip, full of synthetic percussion, goofy synth lines, and slap bass, moving so fast through genres it gives you whiplash. The album is so infectious it is difficult not to crack a smile when certain tracks pop up, like the Thomas Dolby aping track "Emergency Room," the disco synth funk of "Too Much MIDI (Please Forgive Me)," or the fizzy dance track "World of Regret." The album is so bubblegum sweet, it can get cloying at times, but overall, you couldn't ask for a better summer party album.

Planningtorock
W
Rating: Tragicistani

I was very excited when I heard about Planningtorock, as performance artist/musician Janine Rostron frequently works with The Knife, and Rostron and The Knife's Karin Dreijer Andersson both enjoy creating moody, atmospheric pop with heavy use of pitch-shifted vocals. With W, all the right elements are there, minimal, slightly Asian percussion, creepy synths and keyboards, horns and woodwinds, and bizarre vocals and lyrical conceits. Unlike the work of Fever Ray, however, nothing really gels into something interesting or compelling. All you get are elements, with no connection. Not a single song on this record moved me or stayed with me. In fact, I haven't heard a record this unlistenable in a long while (this was before I heard the new John Maus album). Save your money, or be prepared to get carpal tunnel syndrome from hitting the skip button.



Rating Guide

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

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

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

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

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

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

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

Washed Out: Within And Without

Washed Out
Within And Without
Rating: Meh

Ernest Greene, who performs under the Washed Out moniker, is a laptop producer who creates blissed out chillwave music from his rural Georgia home, about the most unlikely place you could think this kind of music would originate. Over the course of two EPs, Greene created a unique set of tracks that took vintage sounding keyboards and drum machines and molded new, sunny life out of them. It is basically impossible to listen to those tracks without getting a warm sensation flowing through your body. With the backlash against the chillwave genre, it was unclear what direction Greene would head in; would he change 180 degrees like Toro Y Moi, or subtly alter his sound like Memory Tapes? With his debut full length Within And Without, the answer is neither. He basically sticks to his same template, but brought Animal Collective producer Ben Allen to man the boards, brushing and shining the ramshackle nature of his earlier tracks into a buff sheen. Consequently, there are two effects on his sound: one, the album sounds great, full of depth and an expansiveness that wasn't there before; and two, this also, most likely unintended, gives the album a rather one-note quality. Individually, the tracks are all gorgeous and shimmering, creating a wonderful, relaxing backdrop, however, together it is difficult to tell them each apart, flowing in and out of each other with little distinction. Oddly, almost every track adheres to the same BPM and drum track, making this problem worse.

The album starts on a high note, with the lush atmospherics and treated guitars of "Eyes Be Closed," feeling akin to the opening track to The Cure's Disintegration, the song ebbing and flowing on a rising sea of building chords.



And this template serves them well when they stick to a dreamier, more upbeat sound. "Amor Fati" has a lovely, almost Caribbean lilt, which leads to a swirling, gauzy chorus.



"Before" starts out well on a bed of whirring synths, and uses some interesting vocal sampling as counterpoint to the hazy vocals.



But far too many tracks drag through somber trappings, never rising above a bland texture. It also doesn't help that Greene, whose voice is respectable but not amazing, covers most of his vocals in reverb and other effects. The majority of tracks sound like he is singing from deep in a well. "Far Away" has his vocals barely reaching a murmur.



Adult Swim single "You And I" is similarly morose and blue, with Greene's vocals a formless moan, which is further dragged down by the turgid beats.



The title track takes a light, hip-hop beat and pairs it will glacial synth washes, fading into aural wallpaper.



The final track, "A Dedication," finally emerges from the pea soup torpur of the album and injects some much needed variety and texture; adding pianos and spikes of keyboard atmospherics.



Within And Without is an album I really want to love. There are some great tracks on it and the production is impeccable, it is just like a Big Mac sandwich though, something I crave once every six months or so, then right after I have it is instantly gone from my memory until six months later. There really is nothing wrong with the record, it just doesn't leave a lasting impression. The tracks end up being too similar and fade into the background. I wish there had been more of the thrift store odd nature of his earlier EPs in order to provide some distinction between tracks. Unfortunately, what we are left with is a pleasant, but unmemorable experience.

Rating Guide

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

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

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

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

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

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

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

Memory Tapes: Player Piano

Memory Tapes
Player Piano
Rating: Yeah Daddy Make Me Want It

As a genre, chillwave had a very short shelf-life. There is really only so much you can do with a blissed out, sunkissed, dreamy sound that hasn't been done before. All the bands that were the stars of the scene, Washed Out, Toro Y Moi, and Memory Tapes, have released their follow ups to their defining albums and the results have been quite interesting. Toro Y Moi ditched the chillwave sound entirely, moving toward a more 70s R&B/disco vibe, which, at least for me, didn't work very well. Washed Out's first full length (after two lauded EPs) Within and Without has just been released, and I will likely review it next week, and at first listen sounds like his original work, but more expansive and with much better production values. By far the most notable member of the genre, Memory Tapes's (one man bad, Dayve Hawk) debut album Seek Magic was filled to the brim with experimentation, hooks, and a fun vibe. It was on endless repeat two years ago on my iPod. With breathless anticipation I have waited for his sophomore release, wondering where he would take his sound.

Player Piano is an interesting second album for Memory Tapes. The experimentation and hooks are still there (and it is obvious the production values are far better), but where on Seek Magic these worked off each other well, here they seem to be an odds with each other, creating a tension that is in some instances welcome, and in others in congruent. Almost all of the tracks start in one direction and then end up in a completely different place, making the album feel slightly schizophrenic. The good thing about this approach is that if a part of a song, or the album, is not to your liking, you merely have to wait a few minutes and something new will come along. In contrast, when you are digging a hook or melody, he inevitably mucks it up by taking it in a direction you don't want it to go.

When he gets it right, it is spot on. "Sun Hits" is a 3 and 1/2 minute piece of pure pop bliss, with chiming/ringing guitars and upbeat tempo, featuring the lyrical hook "Nothing's a dream if you never wake up."



"Trance Sisters" is slightly darker, but also benefits from a driving beat, fuzzy surf guitars, and funky synths.



"Offers" features a delightful use of oboes as a counterpoint effect to the lowkey instrumentation and laconic delivery of Hawk.



And first single "Yes I Know" is a complete surprise, a delicate, almost pastoral ballad, featuring lush synth strings and woodwinds to calming effect.



The problems with Player Piano are not many, but they are pretty glaring. First, on Seek Magic, Hawk only sung on a few tracks, the remainder being instrumentals. Here, he pretty much sings on every track, and his voice, which is thin and reedy, is best taken in small doses. And to mask his weak voice, most of his vocals are heavily reverbed or multi-tracked to mask his deficiencies. And second, as mentioned earlier, the songs that mutate have some diminishing returns. "Today Is Our Life" begins strongly as a midtempo electronic pop song, then midway turns into a synth-pop/country hootenanny.



"Worries," on the other hand, starts weakly with a bizarre organ churned melody and high-pitched vocal from Hawk, but erupts midway with gorgeous guitars and upbeat drumming.



The rest of the album is made up of slight instrumental passages that really don't add to the flow of the record or provide any direction to where Player Piano is going. Hawk still knows his way around a hook and how to put together sounds that you wouldn't think would go together; but where that talent was fully focused and brilliantly executed on Seek Magic, here it is mostly scattershot and unsuccessful. By trying to make himself into a "band" he has limited himself, and unfortunately his voice is just not strong enough to carry an album's worth of songs. For his next project, it would benefit him to rely more on his strengths, and to not try to be something he is not.

Rating Guide

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

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

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

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

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

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

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

Shabazz Palaces: Black Up

Shabazz Palaces
Black Up
Rating: Grrrr

For the past year, Shabazz Palaces has been a mystery alterna-rap group releases a set of EPs that left many listeners breathless with anticipation for what they could possibly release next. This seems to be a trend this year with acts like WU LYF and The Weeknd releasing material without any press or publicity, letting the music talk for them. Of course, this being the Internet age, it doesn't take long for the word to get around, and with Shabazz Palaces, it was discovered that the mastermind behind all the trippy beats and molasses slow flow was none other than former Digable Planets member Ishmael Butler (formerly Butterfly), who now raps under the name Palaceer Lazaro. Aside from his dreamy flow, there is little link between Shabazz Palaces and his work with Digable Planets. Where the latter was all trippy dippy, jazz influenced flower power rap, Shabazz is decidedly darker and more barren, drawing from the drug haze of trip hop and more dense, troubling rap from Dalek or the Anticon label. There is a palpable sense of dread and anxiety that covers Black Up in a dark cloud, that is difficult to shake once you are inside its walls.

From the sandpaper rough via gunshot beats of "Yeah You" which takes on people who blindly follow trends,



"Youology" and its dense multitracked layers thick as mud,



to "Endeavors For Never (The Last Time We Spoke You Said You Were Not Here. I Saw You Though)" with its jittery black hole jazz and spacey effects,



Shabazz Palaces always keeps you on edge, fearful of what is around the corner. And you never quite know where the album is going, even within each song, with the flow sometimes morphing several times. Opener "Free Press And Curl" wanders at first in an opium haze of stuttering beats and gauzy synths before dropping out into an analog synth-heavy murk.



Which bleeds into the haunted house ghost moans of "An Echo From The Hosts That Profess Infinitum" whose middle section drops out with soft electronic percussion:



Not everything is overdone with menace, "Are You...Can You...Were You? (Felt)" soothes with soft strings and pianos over a hushed, drawling rap,



and "A Treatease Dedicated To The Avian Airess From North East Nubis (1000 Questions, 1 Answer)" is pure beat poetry, a disguised in the club come on,



A slight nod to the trippiness of Digable Planets comes from the jazzy guitars and drugged out beats of "Recollections Of The Wraith" with a gorgeous vocal sample cooing in the background.



Black Up is a pure headphones album; there is so much going on within each song, you need some good equipment to pick up all the subtle nuances. It is not a difficult album to listen to, despite the heaviness of the beats and music, there is always something new flying around the corner to shock and surprise. For those of you, like me, who are tired of mainstream rap and hip-hop, and lean more towards the more avant garde practitioners of the genre, Shabazz Palaces is a true find.

Rating Guide

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

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

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

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

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

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

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