New Music Tuesday

New Music Tuesday: Bombay Bicycle Club • Broken Bells • Les Claypool’s Duo De Twang • Gardens & Villa

February 4, 2014 by The Bam Team 3 Comments

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Bombay Bicycle Club – So Long, See You Tomorrow

Top Tracks:
“Feel”
“So Long, See You Tomorrow”
“Carry Me”

Album Highlights: Bombay Bicycle Club’s fourth full length finds the English indie group dabbling with a wider sphere of world music influences, yet the output is still pretty damn catchy. The big strength with So Long, See You Tomorrow is how it thrives on pop arrangements that are both diverse and understated. Earnest without being overbearing, it’s an album that’s bombastic in its spectrum of sound yet relatively subtle lyrically. The world music influence in “Feel” does wonders, helping to build a song that does a good job following through on it’s title. More of the record could have benefitted by following style and vibe of this track. Final track “So Long, See You Tomorrow” ends the album with a fitting big opus, a song that shines as bright as any on the record.

Album Lowlight: The first half of the album takes a while to gain steam — it doesn’t really pick up until the second half. “Whenever, Wherever” sounds interesting and slightly innovative at first, but upon repeat listens, it turns into some kind of twisted Millennial anthem. Also “It’s Alright Now” is an angst-filled slow-builder without the bite. Where’s the fun in that?

Takeaway: Demonstrating a greater focus on world music influences and female vocals has benefitted Bombay Bicycle Club nicely. The production is anything but formulaic, and So Long, See You Tomorrow flourishes the further it plays out — maybe it’s intentional sequencing, but the album certainly peaks on a high note. For many, it might also take half an album’s worth of listening to adapt to Bombay Bicycle Club’s understated, yet catchy, tunes.

-Mike Frash

Broken Bells – After the Disco

Top Tracks:
“Perfect World”
“Medicine”
“Control”

Album Highlights: James Mercer and Danger Mouse follow up their 2010 collaborative debut as Broken Bells with an ambitious and divergent sophomore effort in After the Disco. Their signature sound remains imbedded in the group’s funky basslines, audio production and Mercer’s incomparable talent as one of this decade’s most distinguishable singer songwriters. Yet, it’s their expansion into larger soundscapes with the inclusion of orchestral and big band elements, that sets this album apart from its predecessor in a positively encompassing manner. Branching out from their stylistically simplistic debut, the group incorporates hard hitting disco rudiments, space rock synths and jazzy lounge percussion components that give the record a vintage appeal while remaining on point with current modern pop trends.

Album Lowlight: A generally mid-tempo album, the pace of the record remains consistent except for the final tracks which unfortunately close out the otherwise dance worthy compilation awkwardly. Both songs are beautiful in their own right, but unfortunately don’t get the attention they deserve due to their arrangement on the record. Instead of ending on a high note, the band closes out a predominately new wave and disco themed track list with their two most dramatic songs back to back. Which may have been a premeditated move creatively, but ultimately falls flat against the alternatively up beat album structure.

Takeaway: Following suit with the current thematic shift in pop music, Broken Bells embraces the best aspects of late seventies disco, capturing the final moments of the genre’s crossover into early eighties nu-wave, while maintaining a modern flair. With both members bringing their equally influential tastes to the table, James Mercer and Danger Mouse devise an intriguing tribute to an era of music that achieves effortless resuscitation through their unique integration of modern production and musical skillsets.

~Molly Kish

Les Claypool’s Duo De Twang – Four Foot Shack

Top Tracks:
“Man in the Box”
“Pipe Line”
“Boonville Stomp”

Album Highlights: Les Claypool’s Duo De Twang make their studio debut with a stompin’ album that pays homage to a variety of classic tunes and puts a new spin on some Claypool staples. Consisting of Les Claypool on vocals and acoustic bass and Bryan Kehoe on guitar, Four Foot Shack offers stripped-down versions of songs that span Claypool’s career such as “Wynona’s Big Brown Beaver” and “Jerry Was a Race Car Driver.” As wonderful as these Claypool classics are, it is the covers on this album that really shine. Of the 6 cover tracks, the Twang interpretation of Alice in Chain’s “Man in a Box” alone is worth the price of admission. The Duo de Twang also tackle the Bee Gees disco anthem “Stayin’ Alive” and the surf rock masterpiece “Pipe Line” originally by The Chantays. Like every song the Duo De Twang covers, they put their own magic into it.

Album Lowlight: It’s tough to say anything bad about this album. Four Foot Shack has a very live feel to it, and was likely recorded in single takes with mild overdubbing of vocals and other effects. I really would’ve loved to have gotten an album full of covers. The Claypool originals are great, but not much new ground is broken with the Duo De Twang version. The covers are just so unique and interesting that an entire album of them would not disappoint me. Tough to complain about anything though, this album features vintage Claypool at his finest.

Takeaway: Four Foot Shack has a very distinct sound to it. Claypools signature slap and tap of the bass, albeit acoustic, mixed with his whacky vocal delivery and the twangy guitar of Bryan Kehoe make this album a foot-stomper. The sounds and rhythm Les Claypool creates with his bass are astounding and nothing is lost despite trading in the electric bass for an acoustic. If you’ve ever been a fan of anything Claypool has been apart of you will be much obliged to listen to this record.

-Kevin Raos

Gardens & Villa – Dunes

Top Tracks:
“Domino”
“Chrysanthemums”
“Echosassy”

Album Highlights: With the help of DFA’s Tim Goldsworthy, Gardens & Villa have crafted an enjoyable slice of synth-rock while establishing their own sound on this sophomore release. This Santa Barbara-bred act burst onto the scene with an impressive debut with some seriously catchy numbers, and have followed it up with a slightly more sonically in-depth batch of varied sounding songs.

The pace and tempo of Dunes is one of it’s strong suits as Gardens & Villa expand beyond the more upbeat/tempo songs which open the album. Tracks like “Chrysanthemums” slow things down nicely with a piano-driven ballad with just the right amount of minimal effects to allow the songwriting, and Chris Lynch’s vocals, to shine through. On the other hand, the next track “Echosassy” shifts the band’s sound towards a contemporized New Wave breakdown. Fans of Miike Snow are sure to gobble up this batch of poppy dance-rock songs full of hooks, post-punk beats and swirling synths.

Album Lowlights: Similar to their previous self-titled release, Dunes is a solid release. They are not earth-shattering or breaking much new ground, unfortunately. Gardens & Villa do squarely have command of their sound and style, but there are times when a little more is desired from them. “Bullet Train” was oddly one of the first announced singles off of Dunes, and is a bit of a muddled mess of falsetto singing, flute effects and slightly cheesy 80’s synth flourishes which simply don’t add up to anything you need to play on repeat.

Takeaway: Fan’s of Gardens & Villa’s first release are sure to eat up this grouping of new tracks and play this album well through the warm summer months. Dunes does lack a bit of the ‘star fire power’ of their self-titled album, but solidifies their unique style of layered dance-rock that has launched similar acts like Cut Copy, who has been produced by Goldsworthy. There is a flavor for all current music fans to find enjoyable in this release, it’s just a matter of how memorable that taste turns out to be for each individual.

-Kevin Quandt

Filed Under: Featured, New Music, New Music Tuesday Tagged With: Bombay Bicycle Club, Broken Bells, Gardens & Villa, Les Claypool, New Music Tuesday

New Music Tuesday: Kanye West • Sigur Rós • Empire of the Sun

June 18, 2013 by The Bam Team Leave a Comment

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Kanye West – Yeezus

Top Tracks:
“Black Skinhead”
“New Slaves”
“I’m In It”

Album Highlights: West’s most avant-guarde effort to date, Yeezus explores the pulsating bass-lines of trap music, glitch electronic beats and experimental noise. In taking some of the largest creative risks of his career, West enrolled a dream team of collaborators to keep the album cohesive and provoking. Executive produced by Rick Ruben, the album boasts a contributing roster of industry heavyweights both past and present. Beyond the tracks crafted by the likes of Daft Punk or featuring West’s handpicked protégé Chief Keef, “Yeezus” is filled with an impressive collection of samples from musical innovators both past and present. A collision of contemporary tastemakers and musical archetypes best exemplified on the standout track “Blood on the Leaves”. The track hits hard with quintessential trap horns and the paralyzing bass of TNGHT’s “R U Ready”, paired with vocals appropriated from Billie Holiday’s classic “Strange Fruit”.

Embellishing further upon audio elements explored in Cruel Summer, his most recent release with G.O.O.D. Music, Yeezus re-introduces us to West’s affinity for the abrasive. Lyrically he continues his legacy of controversial subject matter, with blatant misogyny, self-perpetuated deism and a “fuck the world” attitude dominating as themes. Touching upon the idea of modern-day slavery, within a society that feeds into and conversely scrutinizes his egocentric self-image, West angrily spits, screams and snarls his way through many of the albums tracks. “New Slaves” and “Black Skinhead,” the hardest hitting political tracks on the album bookend the aptly titled “I Am A God”, which will undoubtedly be a contentious track for most. Yeezus also has ample tracks in which West airs his relationship grievances and romantic dirty laundry. A signature trait of Kanye’s previous work, these private details are delivered this time around in a most uncensored manner, aggressively communicated and pornographically depicted. A sexually explicit manifesto, “I’m In It” may be the most NSFW track on the album with lines depicting unveiled racist foreplay with condiments and fisting. West let’s his freak flag fly in the albums’ most interesting collaboration, with vocals by Justin Vernon of Bon Iver fame and Agent Sasco.

Album Lowlight: Understandably, the album was not intended for airplay like his masterfully executed My Beautiful Dark Twisted Fantasy, which West makes sure to drive home with his blatant disregard for composition and lyrical structure. Although his choice of samples for this album is impressive and displays an advanced understanding of the contemporary music scene, they become convoluted within many of the songs. With his previous experience producing albums and tactfully paying homage to the artists he draws from, it’s jarring to hear certain tracks’ awkward incorporation of otherwise perfectly rendered samples. Splicing song structures to purposefully create a free form dissonance may ultimately be part of a larger-picture remix operation, but this ultimately leaves the album feeling raw and unfinished.

Takeaway: West set out to push buttons both literally and figuratively with Yeezus, embracing the idea of a gritty concept album over something he could have easily mailed in, ensuring commercial success and very immediate top 40 hits. Following in the vein of not only the collaborators he teamed up with on this album, but also a running theme present in many of 2013’s most successful new music releases, West went out on limb with hopes of producing something unique and game changing. Although Yeezus isn’t an entirely novel production, it undeniably will be an album that invokes reaction and causes discourse amongst industry professionals and fans alike. I commend West for his efforts to push himself creatively, and think he’s a genius for bringing on the talent he chose. Whether or not Yeezus will be a catalyst for a Kanye West 3.0 is still yet to be determined. Either way, I’m intrigued by how this new direction will play out and influence his future work.

~Molly Kish

Sigur Rós – Kveikur

Top Tracks:
“Brennisteinn”
“Rafstraumur”
“Bláþráður”

Album Highlights: Sigur Rós creates much more Godly material than Kanye West, evidenced with Kveikur, the second full length record the Icelandic trio has released in 14 months. The post-rock deities are pretty well-known for their grand live shows — they tour with a mini orchestra to recreate their layered sound — but between these two albums they lost core member and multi-instrumentalist Kjartan Sveinsson. What they’ve gained between albums is a stronger sense of immediacy and urgency. Kveikur is a more upbeat continuation of their 2012 album Valtari, offering a heavier wall of sound approach with faster beats-per-minute compared to the 2012 effort. That stated, it’s not a massively large departure, as neither record is in a hurry to prove a point. Each song takes the listener on a journey, yet all cuts work together within the context of their respective album as a whole. Kveikur is simply louder, showcasing more chaotic builds and rooting itself in epic dissonance. The tone of the newer album is darker, even demonic at times; Jónsi and his cohorts channel their demons and come out on the other side, transformed with an added emphasis on ‘Von’. (for non-Sigur Rós fanatics, ‘Von’ means ‘hope’ in the faux language the group invented called “Hopelandic”)

Both albums are continued steps away from mainstream fare, yet at the same time Sigur Rós invite you to join their chaotic world of hope. Opening track “Brennisteinn” commands attention and delivers a foreboding feeling, utilizing bass bombs and ecstatic feedback blasts to introduce the album. As “Brennisteinn” begins to wind down into its ambient outro, the static feedback returns to contrast sharply with the supposedly peaceful finale. “Stormur” begins with Jonsi’s angelic euphoria, but the song only takes flight when the positively pitched, high energy percussion arrives a minute in. “Rafstraumur” uses a typical Sigur Rós song structure — building to a peak, then ephemerally retreating into the valley of calmness before building to a euphoric release point that successfully climbs higher than the previous peak. The long-lasting crescendos are driven by invasive drums on “Rafstraumur”, making the calm respite mid-song especially effective. Kveikur ends as strong as it begins, with “Rafstraumur” and “Bláþráður” leaving a distinctively intense, new taste on your tongue before finishing with the albums’ only mellow cut “Var”.

Album Lowlight: Title song “Kveikur’ is a racing demonic soundscape, but it isn’t one of Sigur Rós’ best songs. “Kveikur” contains punk-rock influences and is particularly hard and rough around the edges for the Icelandic outfit, and it isn’t a track that is particularly satisfying. Maybe it sticks out as a lowlight because it’s missing the beautiful ambiance that is present in every other song, at least in some way. It rejects the duality concept of Kveikur, that being euphoric ambiance versus moments and excursions into jarring dissonance.

Takeaway: Kveikur is Sigur Rós’ best album since 2005’s Takk… largely due to the rapid pace throughout and the sonically jarring jolts that strike like a viking on the attack. The cacophonous noises that contrast with the typical Rós ambiance makes the LP all the more memorable. The resulting effect of this cognitive dissonance is immersive, thought-provoking music. The group favors ‘stress’ over ‘release’ here, but there are enough release moments to help the listener avoid a nervous breakdown. While the sound of Kveikur is certainly heavy, it is less emotionally heavy than Sigur Ros’ classic early releases Agaetis Byrjun, ( ), & Takks… — the albums that made Sigur Rós a worldwide phenomenon, so don’t expect this output to be in the same vein as those classics. Though this is quintessential Sigur Rós, and a must listen for fans of post-rock.

~Mike Frash

Empire of the Sun – Ice on the Dune

Top Tracks:
“DNA”
“Alive”
“Keep a Watch”

Album Highlights: The pair of Aussie lads from Empire of the Sun have followed up 2008’s blazing Walking on a Dream with another striking dose of synth rock, full of shiny production and dance grooves. Ice on the Dunes took almost five years to arrive at our ears, and there are some truly positive attributes to glean on this sophomore release. First, the visual marketing of the group has not tamed down, as their music videos, imagery and basically all aspects of the act, actually, are over-the-top and cinematic, to say the least. The bombastic vision of Luke Steele and Nick Littlemore is something to behold, as clearly demonstrated by their music video for “Alive” and subsequent tracks, and it appears to be the continuing vision of the duo. There was potential uncertainty for the future of this act as Nick decided not to tour behind Walking on a Dream, leaving Luke to span the globe a couple of times as the sole torch-bearer.

Now that the band is back together, it is able to create more pristine electro landscapes that could make Kylie Minogue weak in the knees. It’s maximal music at it’s best, so I suppose the five-year wait makes a bit of sense (see: Daft Punk) and comes through on the release, even if the strength of the songs do not hold up to the highlights on the previous release. Who would have thought that Australia would be such a hotbed for a unique brand of dance-driven synth-pop, but here we are. Songs like “Concert Pitch” epitomizes the EOTS sound with all it’s 80’s grandeur coupled with cute EDM-inspired, “feel good” lyrics that make the kids go a special type of crazy.

Album Lowlight: Over-production isn’t necessarily a bad thing, and no one should be surprised by this element from Empire. However, one can’t help but roll their eyes at certain spots where it’s simply too bright and shiny to be taken as something brilliant. I wasn’t quite sure what to expect from an album I personally didn’t think would ever be made, but this is pretty damned close, even if it lacks multiple stand-out tracks. Lastly, a certain homogeneity of tracks is much more pronounced, especially when compared to the previous release.

Takeaway: What was once a side/pet-project by two well-established Aussie musicians has fully developed into festival headliner status and are gearing up for a sizable summer to growing crowds. Luke and Nick have a master plan for their most recent project, this plan includes a multifaceted approach to the music industry by cultivating both a sound and an image. It could be argued that both are equally valuable in drawing in new fans that yearn to experience the mega-production stage act or simply blasting their albums in a convertible cruising PCH.

~Kevin Quandt

Filed Under: New Music, New Music Tuesday Tagged With: Empire of the Sun, Kanye West, New Music, Sigur Ros

New Music Tuesday: Boards of Canada • Surfer Blood • CSS • Jagwar Ma • Gold Panda

June 11, 2013 by The Bam Team 3 Comments

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Boards of Canada – Tomorrow’s Harvest

Top Tracks:
“Nothing is Real”
“Cold Earth”
“Palace Posy”

Album Highlights: Tomorrow’s Harvest is today’s feast as Boards of Canada return with their first album in 8 years. Scottish brothers Michael Sandison and Marcus Eoin are just as good as ever, whether this record was 8 years in the making or they were on an 8 year vacation (or somewhere in between). Better? That is still up for debate.

Tomorrow’s Harvest is an “environmental” album, and if you’ve ever heard Boards of Canada, you understand this description. Their lo-fi, dreamy electronic beats are cinematic – the atmospheric flow evokes visual accompaniment. Their sound derives from 1970’s science fiction soundtracks, incorporating reverb heavy ambience and glitchy mechanical beats, sprinkled with thousands of samples and sounds. The more you listen, the more you hear. Songs like “Reach for the Dead,” “White Cyclosa” and “Split Your Infinities” sound like your hypothetical space vessel is being boarded by an aliens in the far reaches of the galaxy.

The songs on Tomorrow’s Harvest (and all Boards of Canada music, really) thrive in various environments for the listener. Your opinion and perception of a song, or the album, is heavily influenced by your surroundings, both physical and mental. There are an infinite number scenarios where Tomorrow’s Harvest will “click”, and when it does, it’s marvelous. A song might not work one context, but will work well in another. I got the most out of this record while driving at night or while sitting in bed with all of the lights off. It’s up to the listener.

I hear something new every time I listen to this record. To an extent, that is exactly what Boards of Canada was going for with this record. Giving a rare interview to the Guardian, Boards of Canada revealed some of the thought behind Tomorrow’s Harvest. This record could be much deeper than one might think with only a handful of listens, and we are just beginning to tap into what Board of Canada had in mind with this album. According to the artists themselves, Tomorrow’s Harvest is “loaded with patterns and messages” and “there’s actually more use of subliminals on this record than on any previous album we’ve done, so we’re interested to see what people will pick up on.” The patterns and messages were laid out early with the promotional scavenger hunt; the record store madness and impossible clues that led to the album reveal mirrors the concept in the record itself.

If I had to contextualize it, I would split most of Boards of Canada’s songs into two categories: beats and interludes. When creating an atmospheric ambient album laced with beats and samples, you simply cannot string one beat after another – You’ve got to connect them somehow. Reset the musical palette, if you will. Boards of Canada accomplishes that with this record. There are several beats on here that will be remembered as “classic” Boards when it’s all said and done. Beats like “Cold Earth”, “Nothing is Real” and “Palace Posy”, are connected together with spacey interludes such as “Telepath,” “Collapse” and “Uritual.”

Album Background: The story of this record might actually be more interesting than the record itself. Here we are, in 2013, not having heard from Boards of Canada since 2006, when along comes Record Store Day on April 20th and a mysterious unannounced Boards of Canada vinyl appears in a record store in New York. This vinyl record simply had the band’s name and “—— / —— / —— / XXXXXX / —— / ——“ as the title. The record contained a brief clip of music and a 6 digit code. What could this secret code mean? Several more codes were released through various media outlets such as NPR, Adult Swim and BBC. Eventually all 6 of the codes were discovered and when Boards of Canada launched a new website the codes were used to reveal information about the upcoming album. This guerrilla marketing campaign gave this record a mystique that fits right in Boards of Canada’s wheelhouse.

Takeaway: Boards of Canada have certainly not changed from its abstruse way of doing things. They seem to marvel in the mystery of their own creation. Tomorrow’s Harvest is an incredibly deep album, one that is an auditory journey that stimulates all of the senses. I can’t help but think about visual accompaniment to this record every time I listen to it. It is a record that is proving to be more complex and fascinating with every subsequent listening. Granted, Boards of Canada isn’t for everyone, and it takes a specific mood and environment for it to really shine.

~Kevin Raos

Surfer Blood – Pythons

Top Tracks:
“Demon Dance”
“Slow Six”
“Blair Witch”

Album Highlights: The second album from Florida alt-rock outfit Surfer Blood, Pythons, is based in classic surf rock instrumentation and song structure, but the group laces this traditional sound with just enough sonic psychedelic undercurrents and punk-rock blasts. Power-pop refrains and catchy, singsongy lyrics dominate on the surface level throughout, but punk-rock screaming juxtaposes many of the early songs. In the first single and best track “Demon Dance”, punk-inspired group chanting pierces the track a third of the way through, signaling this isn’t your father’s surf rock. The modulated screaming shows up again in “Weird Shapes”, but here it’s so folded into the candy-coated melody that it’s hardly invasive. The psychedelic noodling is less obvious; for example, the droning high-pitched texture at the end of “Needles & Pins” and the reverbing alien helicopter sound in “Squeezing Blood” requires headphones and observant ears to notice. The subtle psychedelic layers and the in-your-face punk exclamations create a fairly unique sound aesthetic in Pythons.

Two other tracks left a lasting impression. “Slow Six” starts with fuzzy reverb, then feigns tame moments by building into a triumphant, banging wall of sound that peaks and melts into a warm guitar picking outro. “Blair Witch” is tame and soothing in it’s entirety, a tender introspective track, yet it’s also coo for love.

Album Lowlight: Pythons gets a bit repetitious – springy drums, tight-fisted acoustic guitar strumming, lyrics that linger, extended words with low toned Beach-Boy harmonies – it ultimately projects a uniform tone that smothers the record at times. This is especially true during the second half of the LP, where the punk-rock injections dry up and give way to pleasantness over chaos.

Takeaway: This was an odd “grower” of an album for me. Upon first listen it was hard to enjoy the contrasting sound of traditional rock versus the psychedelic/punk outliers. Then I grew to accept, then love, the throwback classic surf-rock sound mixed with the jarring punk-vocal interludes and psych layering. Upon even further listening, it’s a bit one-note. One of the biggest challenges a recording artist endures is creating a unified, cohesive album, but the individual songs need to stand out on their own as well. Pythons is certainly cohesive, yet song to song it is too homogenous.

~Mike Frash

CSS – Planta

Top Tracks:
“Into the Sun”
“Teenage Tiger Cat”
“Hangover”

Album Highlights: CSS is back with Planta, a disco-laden new wave powerhouse of an album. Soldering out the rough edges of their three previous efforts, the Brazilian bevy continues to expand on their dance-pop success by introducing sci-fi synth loops and reggaeton hooks. A throwback to the dance halls of the late eighties, CSS utilizes the simplicity of drum machine beats and lazer cross-fades as a driving force behind this album. Especially evident in the songs “Into the Sun” and “Teenage Tiger Cat”, the influence of that era’s archetypes (New Order/Joy Division, etc.) is close to blatant.

Album Lowlight: Vocals remain at the forefront of Planta, per usual for CSS, but remain consistently in English as opposed to their normally bi-lingual recordings. Luísa Hanaê Matsushita undeniably delivers with her breathy semantics, yet the lack of Portuguese incorporation leaves Cansei de Ser Sexy fans craving a bit more of their Brazillian bravado.

Takeaway: Planta is a playfully crafted homage to an era of dance music that chose to look beyond the peripheral s of stale North American discos, branching out to the neighboring scenes across the pond and in South America. Although CSS tones down the riot-girl-rock this album, opting for a much more polished production, their infectious energy and pop tart personas remain consistent. A graduated effort resulting in a near perfect party album for the summer, Planta proves these ladies aren’t “tired of being sexy” just yet.

~Molly Kish

Jagwar Ma – Howlin

Top Tracks:
“Four”
“Come Save Me”
“The Throw”

Album Highlights: The first album from Australian duo Jagwar Ma sounds as if the psychedelic rock and dance music genres had sex and made the perfect baby. The best example of the inter-coursing between psych-rock and dance can be found in the twelve minute, 2-song punch of “Come Save Me” into “Four”. The two tracks stitch together as one and take the listener on a journey through recent music history – and it works magnificently. “Come Save Me” begins as a lovely, 1960’s Brit-Rock jam until muted lazer sounds, layered clapping, synth and vocal dubbing overtake on a super-extended bridge. Then the track repeats “Found my love looking on the ground”, preparing the ear for pleasurable, repetitious sound. When the clean bass beat and vocal sounds kick in seamlessly at the inception of “Four”, it’s both shocking and awe-inspiring. “Four” is simply one of the most powerful dance tracks of the year, especially within the context of Howlin. The clean beat in “Four” is extra effective due to the psychedelic fuzz that dominates much of the record prior to the minimalist jungle beat.

The record notably begins with a tripped out dance loop that defies traditional song structure. “What Love” only builds – it never trades off between verse and refrain – then after putting the song to bed (or so you think), the song reprises with a cacophony of sound from the same opening song, but it’s all jumbled up in a new way. This tribal outro is similar to what fellow Aussies Tame Impala do night after night on stage – yet Jagwar Ma have the intestinal fortitude to incorporate it into the the first cut of their first album. The premiere track signifies the unconventional, groundbreaking music that is to come.

“Man I Need” is as close as Howlin gets to pop music, as it doesn’t break into extended dance territory and it’s terribly hooky, especially when you consider the Kings of Leon-esque howls. Two other stand-out jams on this LP that must be heard are “The Throw” and “Exercise”.

Album Lowlight: The record ends with a couple mellow tracks in “Did You Have To” and “Backwards Berlin” – and even though they lowered the tempo, the tracks are still infused with psychedelic sounds. My only harp here is Jagwar Ma could have sequenced the end of the album a bit stronger by going out with a higher BPM bang. Still, the mellow final track “Backwards Berlin” mirrors the looping nature and lyrical content of the opening track “What Love”, bookending this excellent record.

Takeaway: Jagwar Ma have created one of the most successful first albums any new act has released this year. Fans of Tame Impala, the Stone Roses, Cut Copy and Django Django take notice: Howlin is a record that should be listened to immediately. Jagwar Ma’s vocal effects & guitar work are similar to Kevin Parker’s innovative treatment in Tame Impala, but even more critical to their forthcoming indie-cred success is how well they incorporate electronic dance loops into psychedelic rock – the two distinctive genres never contrast inappropriately.

Tracks on Howlin conform to conventional song structure at times, but it’s really all about the psych-dance party. It’s not until the fourth track “That Loneliness” that any kind of refrain is discernible – and even then there is fast paced clapping to spice it up. But even on this seemingly conventional cut, the Aussies build a Django-Django-like tribal beat based around repetition to create a dance song with rock sounds. San Francisco – do yourself a favor and buy tickets for their October show at Rickshaw Stop before it’s sold out.

~Mike Frash

Gold Panda – Half of Where You Live

Top Tracks:
“Brazil”
“We Work Nights”
“The Most Liveable City”

Album Highlights: Gold Panda’s newest album Half of Where You live takes the listener on a journey around the world with songs like “Brazil” that truly evoke the feeling that you’re at a nightclub in Sao Paulo. Songs like “Enoshima” take the listener to Japan and “The Most Liveable City”, which has bird calls throughout, sets us right in the heart of Australia. This album is a sonic soundscape to everyone’s traveling adventures.

Album Lowlight: “My Father In Hong Kong in 1961” and “S950” both just seem like transitional songs that the album could do without. I could see why the Gold Panda would want a couple songs like this on the album, but I think he could have spiced them up a bit more.

Takeaway: If you’re going on a long adventure to a faraway land that you’ve never been to before, than I highly recommend throwing on your earbuds and getting lost in this album. From the opening track of “Junk City II” to the last song “Reprise”, the listener is on a journey to the unknown, and I can’t wait to pack up my bags and have this album along for the ride.

~Pete Mauch

Filed Under: New Music Tuesday Tagged With: Boards of Canada, CSS, Gold Panda, Jagwar Ma, New Music, Surfer Blood

New Music Tuesday: Queens of the Stone Age • Disclosure • Portugal. The Man • Rogue Wave

June 4, 2013 by The Bam Team 5 Comments

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Queens of the Stone Age – …Like Clockwork

Top Tracks:
“If I Had A Tail”
“My God Is The Sun”
“I Sat By The Ocean”

Album Highlights: Queens of the Stone Age have come back from a seven-year hiatus since their last album Era Vulgaris, and the group has crafted another solid record. Less commercial sounding than Lullabies to Paralyze but more approachable (while including more ‘single-worthy’ tracks) than Era Vulgaris, …Like Clockwork brings QOTSA’s melodic breakdowns and tempo changes in with Josh Homme’s distinct rock falsetto and guitar to deliver a thoroughly enjoyable album. Stand out tracks such as “I Sat By The Ocean” and “If I Had A Tail” rely heavily on Homme’s signature riffs and guitar work reestablish the Queens’ trademark sound of perfectly executed breakdowns, tempo changes, and psychedelic guitar work pushed forward by crisp drums and harmonies. The lead single “My God Is The Sun” has the Queens, and their one constant Homme, written all over it from haunting, down-a-tunnel background vocals to wailing staccato guitar over the choruses. The album delivers for hard-core fans of QOTSA.

Album Lowlight: No one track seemed sticks out as a ‘lowlight’, and while it’s a perfect Queens Album for fans of the group, it hasn’t gotten much better with subsequent listens, nor has it created unabashed enthusiasm as I hoped after such a long hiatus. Most of the songs, while technically perfect and fun to listen to, seem like rehashed versions of songs they put out in the past. A handful of tracks seem to take new directions or try new things, but overall the sound doesn’t differ enough from previous albums to make this a truly great album. It could be due to the never-ending flux the band is in with members, leaving them unable to grow and develop a sound that grows along with them. The album is still a fun listen, but will doubtfully go down in history as one of their best, especially compared to such classics as R and Songs for the Deaf.

Takeaway: Overall, the album is good, at times excellent, for a QOTSA album. As an whole album though, it falls a bit short. Die-hard fans won’t be disappointed, as it can be easily played over and over without getting tired of it, but it doesn’t flex much new muscle or show a lot of passion. The psychedelic, stoner rock flavor is still there, but it tastes slightly stale this time around, as it feels that much of it has already been done on previous albums, save for a handful of songs. If you’re a fan, grab it as you’ll enjoy it, but I can’t see …Like Clockwork wooing many new fans.

~Sean Little

Disclosure – Settle

Top Tracks:
“F for You”
“January” (feat. Jamie Wood)
“Confess to Me” (feat. Jesse Ware)

Album Highlights: It’s about time for one of the freshest, most sought after acts in the electronic genre to release their debut album, and boy it doesn’t disappoint in the least. Disclosure’s resurrection of late 90s UK garage coupled with two-step, contemporary bass and UK funk has become a highly praised formula that combines new and old styles. Sure, the careers of Artful Dodger and Todd Edwards are still going, so it doesn’t seem like a massive leap since the popularity of UK garage was within most of our lifetimes. Guy and Howard Lawrence, the brotherly duo behind Disclosure are very young, making their understanding of these style even more impressive. They truly know their UK dance music history, and it’s with this knowledge that they have built a style that is more palpable to the ever-growing throngs of dance music aficionados. The Lawrence brothers have taken styles that were largely ignored by the rest of the world and tossed in enough House influence to be suitable for the dance floors of Vegas as well as the basements of South London.

Songs like “Latch” are hard to ignore with it’s swirling bass and sultry vocals provided by Sam Smith. Settle demonstrates a preternatural knack for clean production, ready for remixing and repeated play on the dance floor.

Album Lowlight: Though some of the stronger tracks Disclosure has produced, the inclusion of a couple of previously released songs (mostly on the deluxe edition) is just slightly disappointing. On the flip side, the album logs in at over an hour so there’s plenty of tunes, so no big whoop.

Generally speaking, when one looks at an EDM track list and sees that more than half of the release features special guests, that can be a big red flag, but not in the case of Settle. The impressive selection of both male and female vocalists is superb and without banner names to American market, with the exception being Jessie Ware. Some argue that this tactic is a blatant run for the charts, which is likely in the UK, bit it remains to be seen elsewhere.

Takeaway: It’s clear to see that the state of EDM is a constantly shifting one, keeping loyal followers on their feet and pulling in new recruits through new sounds all the time. Though Settle is a deadly serious dance effort it is also a pop album with appeal beyond festival dance tents. Comparisons to Basement Jaxx have been rampant, and yes, they had a few dance songs that slid slightly into the pop-realm, but let’s be honest, Jaxx were a little too over-the-top in their production to truly be embraced by the masses. Disclosure may close some gaps that still exist between EDM and mainstream culture, a phenomena that the US is inching closer to, for better or for worse.

As the word continues to spread about the Lawrence brothers, we can only look forward to their banner summer sets across the globe, exemplifying the universal appeal of exceptionally produced dance music.

~Kevin Quandt

Portugal. The Man – Evil Friends

Top Tracks:
“Modern Jesus”
“Sea of Air”
“Waves”

Album Highlights: Portugal. The Man continues its steady climb up the rock ‘n’ roll ladder with their seventh full-length album since 2006, Evil Friends. Maybe Portugal. The Machine would be a more appropriate band name. This time around, they have enlisted famed producer Danger Mouse (producer for The Black Keys, Norah Jones, Gorillaz and a member of Gnarles Barkely as well as Broken Bells) to bring this record to fruition.

Evil Friends has all the of signature trademarks of Portugal. The Man’s sound — catchy falsetto-laden hooks, head-banging psychedelic rock and deep introspective lyrics, yet the flow to this album is much better than its two previous studio efforts. This LP holds up much better when listened to all the way through, rather than cherry picking songs. A PTM album has not had this kind of flow since The Satanic Satanist (its best album, in my humble opinion).

Album Lowlight: This album has rekindled my love for Portugal. The Man after they lost it with American Ghetto. In the Mountain in the Cloud regained some of that love, but Evil Friends brings it back to Satanic Satanist levels.

Can we go back in time and see what Danger Mouse can do with their previous seven studio albums?

Takeaway: This could be the record that people look back to reference when Portugal. The Man “got huge”. The band is fairly well-known to anyone that has moderately followed indie music in the last five years. If you went to a few major music festival in the last four years, there’s a good chance it was on the bill.

This LP is highly accessible and listenable all the way through. Long time PTM fans will get their fix without screaming “sellouts”, while at the same time, they should gaining slews of new fans. Is there a debate as to which Portugal. The Man record is their best? If there is, this album is now in the discussion.

~Kevin Raos

Rogue Wave – Nightingale Floors

Top Tracks:
“Everyone Wants to Be You”
“S(a)tan”
“Siren’s Song”

Album Highlights: Oakland’s Rogue Wave has returned with their 5th LP, Nightingale Floors, and it thrives best when it hones in on meditative repetition. Opening track “No Magnatone” utilizes an Eastern drone sound that hints at transcendental aspirations, then quickly repeating guitar melodies layer on until Zach Rogue’s modulated vocals pleasantly blend. This track and the breathtaking closing song “Everyone Wants to Be You” utilize Zach’s voice as an instrument, as opposed to a leading force behind the songwriting, and the psychedelic wandering in these two tracks leave the greatest impact on the listener. These songs represent what

Themes of death and acceptance of passing on dominate, and “Figured It Out” captures the zeitgeist of the album’s mantra better than any other track. The inspired writing and delivery of the repeating lyrics is utterly transfixing: “At the moment i pass away, I know I’m gonna be so proud.” “Without Pain” also overtly waxes poetic on letting go at the end of life. Two other tracks, “Siren’s Song” and “S(a)tan” are excellent and well worth a couple spins.

Album Lowlight: The first singe “College” is hyper-catchy, but doesn’t necessarily fit in with the record. The happy tone and prep-school upbeat-ness to it is too strikingly different than the rest of the record, even if they meant the song to be interpreted with irony. Although this is unlikely; Rogue Wave have a track history of sincerity and earnestness. The refrain is repetitious to the point of annoyance, while instrumentally the song is pleasant. “College” is likable at first but falls flat after multiple listens within the scope of the album as a whole – it smells like the song’s dominance in the album sequencing and the choice of making it the lead single involved the presence of suits from the record company. Also, the track “Without the Pain” is rather pedestrian despite the reoccurring theme of accepting death.

Takeaway: The meditative, minimalist tracks work best in Nightingale Floors, but at the same time “Siren’s Song” flashes beastly grandeur and “S(a)tan” finds it’s appealing center in reverberating electric guitar picking that is reminiscent of DIIV. Some range works very well with this record, but the attempt at pop-radio play with “College” puts a dent in it’s excellence. But overall, this record is meditative self-examination at it’s best.

~Mike Frash

Filed Under: New Music Tuesday Tagged With: Disclosure, Portugal. The Man, Queens of the Stone Age, Rogue Wave

New Music Tuesday: Laura Marling • Mount Kimbie • Baths • CocoRosie

May 28, 2013 by The Bam Team Leave a Comment

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Laura Marling – Once I Was An Eagle

Top Tracks:
“I Was An Eagle”
“Saved These Words”
“Where Can I Go”

Album Highlights: Sophisticated 23-year old folk troubadour Laura Marling has a remarkably prodigious output since her first record Alas, I Cannot Swim, which was released in the UK in 2008. Fast-forward to her fourth and best LP in five years Once I Was an Eagle, and it become less and less hyperbolic to declare Marling a virtuoso songwriter, a living legend in the making. The English performer’s distinct vocal range, including the gurgle-tinged Kermit the Frog voice on the baritone introduction of “You Know”, tees up the high notes, making them all the more effective. There are a handful of classics on the sixteen song (!) LP with “I Was An Eagle”, “Master Hunter” & “Where Can I Go?”, but Marling’s biggest success here is creating a cohesive piece that thrives as a whole, not a collection of individual songs. Once I Was An Eagle quickly establishes the illusion of a continuous performance, as Marling doesn’t allow the songs to fully end for the first four tracks, a span of 18 minutes. The tracks transition ever so smoothly to the next song, and Marling proved the first four tracks are meant to be ingested as a suite of songs by creating a breathtaking 18-minute music video to accompany the opening section of this album (view it above). This record doesn’t have too many over-the-top, standout moments – instead it’s steady and successful throughout.

Album Lowlight: A little trimming would have helped with excellent LP – some of the slower ballads like “Little Love Caster” and “Interlude” could have been cut to create a tight, 12 track classic. But hemming and hawing like this is trivial – Once I Was an Eagle is one of the best singer-songwriter albums of the year.

Takeaway: At this current pace, Laura Marling seems to be a name that can go to the top of the female singer-songwriter list with Joan Baez, Emmylou Harris & Joni Mitchell. Marling’s vocal stylings can be reminiscent of the three mentioned legends, but Marling’s messages of female empowerment, which could also be viewed as a strong feminist songwriting point of view, is common throughout her short career and even more prominent in Once I Was An Eagle. For example, in the track “I Was An Eagle”, Marling sings “When we were in love, if we were, I was an eagle and you were a dove… I will not be a victim of romance or circumstance…You were a dove and I rose above you and preyed.” In a striking analogous way, Marling reverses traditional gender roles, which is especially effective within the patriarchal world of contemporary music. Themes of regret and love lost dominate the songwriting in a more general sense; at the end of the opening suite in “Breathe”, Marling says “You wanna woman who’ll call your name, it ain’t me babe.” With such strong songwriting, lyrically and instrumentally, it should be noted how good Marling is now, not some time in the future.

~Mike Frash

Mount Kimbie – Cold Spring Fault Less Youth

Top Tracks:
“Home Recording”
“You Took Your Time” (feat. King Krule)
“Made to Stray”

Album Highlights: Mount Kimbie has delivered yet another beaming release that screams progression and forward thinking in a populous era for electronic-oriented music. Cold Spring is one beastly departure from an incredible first LP, Crooks & Lovers, shifting ever slightly more to instrumentation over programming, not to mention much more live vocals, primarily handled by fellow British heat-seeker King Krule. This release is also a perfect compliment to all the Boards of Canada buzz generated this week, as much like BoC, Kimbie craft sonic gold in a manner and way of thinking that is all their own. So many nods to a smattering of musical styles are just subtle enough to not compromise the Kimbie sound, but one can’t help but hear elements of Jazzanova, Artful Dodger, James Blake and many more.

Album Lowlight: Very few on my first half dozen listens. King Krule’s unique croon may not pull in first-time listeners with his quintessential cockney, teenage vocal style.

Takeaway: Cerebral music at it’s finest from two truly unique voices in the ever-changing landscape of post-dubstep music, Mount Kimbie won’t really ever fit neatly into a category, or even sub-category, with their ever-changing sonic approach. It really is hard to ignore the fact something special is being produced by Kai Campos and Dominic Maker while still being relatively unknown, especially in the States. The mood shifts and bobs with a whim on Cold Spring and is fully an album to lose yourself in. Pastoral feelings and minor transcendentalism are included, free of charge.

~Kevin Quandt

Baths – Obsidian

Top Tracks:
“Ossuary”
“No Eyes”
“Miasma Sky”

Album Highlights: Bath’s second album is a well-crafted juxtaposition of beautifully produced pop beats and tragically desperate lyrics. Obsidian highlights the vocal range of Will Wiesenfeld, which fluctuates between a tenor and baritone, whimsically playing off corresponding pitches through call and response structures showcased within the track’s choruses. A generally upbeat album filled with fanciful melodies and intricate BPM layering is presented, so it’s easy to get lost within the enveloping fuzz without paying attention to Weisenfelds’ melancholy verses. Subject matter depicting internal turmoil, anxiety and emotionally devoid casual sex rarely sound so buoyant. Accentuated in poignant tracks such as “No Eyes” and “Ossuary”, Weisenfeld indulges in pitting extremely dark and jaded lyrics against a mostly lighthearted musical soundscape. An idea he’s been entertaining throughout his musical career, Obsidian draws heavy influence from fellow warped songwriter Azeda Booth, whom Weisenfeld was introduced to through friends and previous tour mates Braids.

Album Lowlight: I can’t find much fault with this album beyond issues that may arise out of personal preference or audible favor. It’s beautifully produced, has a great variety of songs and all are equally as engaging and interesting. Even the slower tracks such as “Ironworks”, although somewhat stunting to the flow of Obsidian, are gorgeous in their own right. You could tell that Weisenfeld made a conscious effort to create a playing field that both audiophiles and lyricists could meet on, and he did so in a seemingly effortless fashion. I doubt that this album will get much attention outside of the indie/electronic circles, but it should.

Takeaway: Bath’s sophomore effort is one to be reckoned with, and it should be a testament to not only Wiesenfled’s future success, but it should also be a game changer in the arena of experimental electronic music. Obsidian resonates on two completely stark contrasts, marrying a mainstream genre with a taboo mindset, and he pulls this off triumphantly.

~Molly Kish

CocoRosie – Tales of a Grass Widow

Top Tracks:
“End of Time”
“Gravediggers”
“Far Away”

Album Highlights: Sister duo Bianca “Coco” and Sierra “Rosie” Casady, known as CocoRosie, are back with their 5th album Tales of a Grass Widow. The sisters’s “freak folk” style remains as evocative as ever in this album that tells tales of death and pain. Perhaps the most striking thing about CocoRosie’s sound is the vocal delivery of “Rosie”. Her voice is striking and subtle, with the kind of ferocity akin to Bjork, a definite highlight of this record.

CocoRosie’s sound is unlike anything else in mainstream music. They combine worldly elements, undoubtedly influenced by their Native American ancestry, with a beat-boxer providing a bulk of the rhythm section.

Album Lowlight: I love the beat-boxer, and think it works remarkably well on this record, but I would love to see what they could do with either a real drummer, or a DJ providing the beats. A beat-boxer can only knock so hard.

Takeaway: CoCoRosie is not well-known to mainstream music lovers, but that could soon change. Their style is unique and powerful and has been turning heads since 2003. The vocal delivery is some of the best I’ve heard in recent years, and that along makes this album a must-listen.

~Kevin Raos

Filed Under: Featured, New Music Tuesday Tagged With: Baths, CocoRosie, Laura Marling, Mount Kimbie, New Music

New Music Tuesday: Daft Punk • The National • Majical Cloudz

May 21, 2013 by The Bam Team 3 Comments

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Daft Punk – Random Access Memories

Top Tracks:
“Doin’ It Right”
“Giorgio By Moroder”
“Instant Crush”
“Lose Yourself to Dance”

Album Highlights: Arguably the most anticipated album of the last five (perhaps even ten) years, Daft Punk’s Random Access Memories departs from the group’s signature “robot rock” and brings listeners deeper into the production minds of Guy-Manuel de Homem-Christo and Thomas Bangalter, the duo that has been at the forefront of electronic music since the late 90’s. Reviews have been scattered for this album, and many fans are disappointed with the departure from their “traditional” sound. Random Access Memories is much more a full band “roots” record for Daft Punk and an homage to the music that inspired them to create their own unique sound. The album is contemporary but with obvious nods to influencers such as Griorgio Moroder, while at the same time giving a throwback feel to the days of funk and soul, where dance floors were commanded by elaborate multi-piece bands and not a solitary DJ.

“Doin’ it Right” is a gem. The slightly odd voice of Animal Collective’s Panda Bear projects his Brian Wilson-esqe voice over a Daft robot voice, repeating words about ‘dancing’ and ‘doin’ it right’. While the lyrics are a bit cheesy, it’s the simplicity and catchiness of the song that hits home; it’s a track I could listen to for hours on end and not get tired of. “Giorgio by Moroder” starts with a monologue by Giorgio himself, which is an interesting choice that is sure to annoy DJ’s. Once the interview intro is done, the track breaks into one of the more traditional Daft Punk style songs with a Giorgio touch found in the synth and sequencer used. “Instant Crush” features The Strokes’ Julian Casablancas on vocals, filtered to give him a distant, robotic, over-the-phone appeal. Key parts of the song also sound similar to earlier Daft (especially “Something About Us” off Discovery), which adds to the song’s forlorn, distant-love quality. Finally, “Lose Yourself to Dance” brings in flashbacks of funk, building up over guitar, handclaps, and Pharell’s high-pitched vocals to set a groove that is built to move the masses.

Album Lowlight: I really didn’t find many particular lowlights on the long-awaited Random Access Memories. I wasn’t a huge fan “Fragment’s of Time” at first, as it had a sort of yacht-rock adult contemporary vibe to it, but it has grown on me. I think it would be too early, even after about 30 plays, to pick a lowlight. I have considerations, but it’s a complex album and my choices for lowlight seem to shift with each listen.

Takeaway: Regardless of what Daft Punk was trying to channel in RAM, it’s hard for any group or DJ to deliver on such stratospheric expectations. Inevitably fans will feel either let down or ecstatic with the album, depending on their willingness to be influenced and where they are musically. I don’t think too many college-aged ragers are going to be digging this, as it’s fist pumping appeal is minimal, if even existent.

It should be noted though that prior to this album, Daft Punk had a much smaller mass appeal, with many fans only latching onto them during the start of the “EDM” craze. Most of these fans never realized that Daft Punk were using samples from old funk albums and putting them through filters, pitch bends, tempo changes and other signature French house effects in order to give credit to the songs that inspire them, while still stamping them with their signature “robot” sound (Justice does the same exact thing). Random Access Memories sounds much like an album that Daft Punk would want to sample from; nothing is pitch bent, filtered, or changed in order to take it back to where the sound truly originated – it’s almost all organic here.

I think the really interesting thing will be seeing which remix producers don’t just rearrange the parts, but use these songs just as Daft Punk did with older albums that inspired them, taking these samples, filter them, and make them their own tracks. I, along with others, feel this album is what the dance world needs right now: a return to real production, thought, and care when it comes to making dance music. So much of what’s been happening the last few years has become about getting louder and more commercially viable while sacrificing quality and care, and hopefully Random Access Memories helps press the reset button on this.

~Sean Little

The National – Trouble Will Find Me

Top Tracks:
“Don’t Swallow the Cap”
“Sea of Love”
“Humiliation”

Album Highlights: Being melancholy has never been so exciting! The Dessner brothers, the Devendorf brothers and Matt Berninger bring the dark joy of another album release, and they have kept on the same track they have steadily been building for over a decade. Trouble Will Find Me is a thick slice of the unmistakable baritone of Berninger coupled with the driving force of the pair of brothers, backing amazingly true-life lyrics dealing with the imperfections we all deal with in our lives. “Sea of Love,” the first single, is a prime example of the feverish construction the National pump out so consistently, and mirrors previous releases in this same manner. Their ability to bring contemplation to records, then transcribe the material to energetic intensity in a live format is one that few bands have continuously achieved over the past 14 years, and fully demonstrates that something special is happening here. Also, Berninger’s voice sounds smoother and richer than ever, apparently due to quitting smoking before recording.

Album Lowlight: The National have truly cultivated a sound and style all their own, and they achieve this without many bells, whistles or electronic elements. Some parts of this record, and the band’s overall sound, take on a simple characteristic as demonstrated through basic harmonies, chord progressions and even drums beats. It’s with this formula that some songs begin to sound familiar. My best example for this is when new track “Graceless” is stacked against Boxer’s “Brainy.” I suppose these likenesses are byproducts of members’ individual style. On the other hand, luckily the lyrics are more relatable and less violent than previous release, High Violet.

Takeaway: Trouble Will Find Me is truly just another brick in an immaculately constructed structure that is the releases of The National. It’s fair to say the masses didn’t expect much less from one of the most consistent acts in the business, and I for one cannot wait to see how these songs are blisteringly performed on the live stage. In the meantime, there is plenty of time to further pull all the meaning out of this batch of 13 new tracks, full of real world angst slightly veiled with optimism.

~Kevin Quandt

Majical Cloudz – Impersonator

Top Tracks:
“Bugs Don’t Buzz”
“Childhood’s End”
“Silver Rings”

Album Highlights: Majical Cloudz combines Devon Welsh’s clear vocals over minimalist organ/synth/piano-led beats from Matthew Otto, and the result is dreary, hanging-onto-hope emotional state of an album from the Canadian duo. The style of Welsh’s vocal-front arrangement fakes the listener into a literal interpretation of his lyrics. It’s all about the subtleties and what’s not being said behind the poetic phrasing. The inferences made while listening are more striking than what Welsh says; you can tell there is real pain, that Welsh has loved and lost, and that he’s only recently come to embrace his place in the world. What’s most inspirational is how Welsh’s vocals plow through the cloud of sad ambiance like a strong beam of light, searching for a permanent place away from depression.

“Childhood’s End” is a sad track that uses the simple refrain of “Went down, went down went down…” to establish an emotional, spiraling tone. The strings and vocal moans in “Silver Rings” contrast and question the lyrics “I don’t think about dying alone”, especially when shortly thereafter Welsh cries out “Stay with me”. “Bugs Don’t Buzz” is the most memorable, poetic track on the record, it’s essence summed up with the line, “It pays to be on the edge of existence, just riding the surface my love.”

Album Lowlight: The effect of Majical Cloudz is comparable to the feeling you get during the first part of a typical Sigur Rós song – but you don’t get the hopeful, transcendent payoffs the icelandic wonders give. Impersonator is dreary yet hauntingly beautiful, but ultimately one-note; it’s hard to see the replay value in this record going forward due to it’s super-somber effect. This is the kind of record that should get heavy play when a family member dies. Conversely, these intense, morose-minimalist power ballads like ‘I Do Sing For You” will fit perfectly into an appropriate cinematic moment or scene on the small or big screen, if they haven’t been used to score visual imagery already.

Takeaway: Welsh’s poetic waxing comes off like an endless soliloquy that’s best listened to in an immersive situation – being stoned with headphones on or live in concert – but I wouldn’t exactly plan your Friday evening around this experience. I saw Majical Cloudz open for Autre Ne Veut in March, and Welsh is somehow physically more intense and brooding than his songwriting in person. He blasts stand-offish stares into his front-row victims, moving from face to face looking deep into the eyes of each concert goer. I remember reading the following description of Welsh’s live performance before the show, and I’m still not seeing the “Fun loving” part:

Majical Cloudz is a music project and performance event. Negative and ecstatic. Fun-loving. Seeking relationships with audiences to share transforming experiences.

Welsh & Otto played most, if not all of this album at The Independent two months ago, and I can attest that Welsh and Otto have the intensity and drive to pull this project off, especially if the goal is to “share transforming experiences.” Just see this act on a random Monday or if you’re in the mood for lost-languid lyrics over morose music beds.

~Mike Frash

Alpine – A is For Alpine

Top Tracks:
“Gasoline”
“Hands”
“Too Safe”

Album Highlights: Alpine’s new album is anything but new. A is for Alpine was released in Australia in 2012, and after a long and tumultuous journey, it has finally made its way to the northern hemisphere. Dawning from Melbourne, Australia, Alpine has become a household name to many Australians and they are just now making a name for themselves in the States. Alpine’s sound combines the dreamy vocal harmonies of Phoebe Baker and Louisa James with post-punk, electro-laced beats. Highly danceable, A is for Alpine is filled with catchy hooks and driving beats that don’t get stale. This is a sparkling debut album from one of Melbourne’s hottest and upcoming bands.

Album Lowlight: What took them so long to get to the USA? The lowlight is that they’ve been depriving us of this magical album for almost a year.

Takeaway: A is for Alpine is a fantastic album, pairing Phoebe and Louisa’s vocals with the driving electro-surfy-synth to make an upbeat yet soothing record. The songs are catchy, engaging and stay fresh throughout the album. Alpine is still relatively unknown, but that might not last for long. They will be appearing at the Great American Music Hall June 8th, opening for Crystal Fingers.

~Kevin Raos

Filed Under: New Music Tuesday Tagged With: Alpine, Daft Punk, Majical Cloudz, New Music, The National

New Music Tuesday: Vampire Weekend • Wild Nothing • Wampire • Snowden

May 14, 2013 by The Bam Team 1 Comment

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Vampire Weekend – Modern Vampires of the City

Top Tracks:
“Step”
“Hannah Hunt”
“Worship You”

Album Highlights: Vampire Weekend’s third album Modern Vampires of the City further cements their status as one of the preeminent indie rock bands in modern music. The band has grown up and matured with Modern Vampires, creating a vibrant and rejuvenating album that will likely be high atop many “Best of the Year” lists in 2013. Vampire Weekend has already established themselves as a veritable force in contemporary music with their highly acclaimed first and second albums Vampire Weekend (2008) and Contra (2010). Their distinctive baroque sound has aged and ripened with Modern Vampire in the City, blossoming into one of the freshest album of the year thus far. This album is littered with hits like “Ya Hey”, “Diane Young” and “Step”, which have already been making the rounds on local radio stations. It’s only a matter of time before these songs appear in another Honda commercial.

It’s the distinctive characteristics of the band’s sound that carry this record. Ezra Koenig’s playful and expressive vocals shine through this lyrically rich album. Every song on this record has captivating vocals that take the listener on a poetic journey, one of my favorites being “Step.” The shoutouts to San Francisco, Oakland, Berkeley and Alameda don’t hurt either. Perhaps the greatest emotional outpouring from Koenig comes at the end of “Hannah Hunt” when the song crescendos to a peak; this moment is an absolute highlight.

Album Lowlight: With little help from Steve Buscemi, Vampire Weekend has created one of the best albums of 2013. It is perhaps this cringe-worthy marketing campaign that is the worst part about the album, if it could even be considered that. Perhaps this was done to curb expectations on this record that was nearly 2 years in the making? Whatever the reason, it worked, because Modern Vampire of the City is an incredible record that will be listened to and cherished by music lovers for ages to come.

Takeaway: Without too much commotion, this LP has propelled Vampire Weekend from a quirky indie band to one of the most influential groups in contemporary music. Their distinct sound, songwriting ability, and musical diversity make this album one of the most compelling albums of the year. They’ll serenade you to sleep one moment, only to rock you awake the next. Modern Vampires of the City will transform the casual fan to a Vampire Weekend advocate. They have quickly climbed the power rankings for anticipated bands performing at Outside Lands Music Festival. I’ll be there.

~Kevin Raos

Wild Nothing – Empty Estate [EP]

Top Tracks:
“Ride”
“Ocean Repeating (Big-Eyed Girl)”
“The Body In Rainfall”

Album Highlights: Wild Nothing released one of the best records of 2012 with Nocturne, but Jack Tatum outfit has already returned with a seven-track EP that presents an interesting duality that is not foreign to these shimmering, dream-pop curators. The sounds and songs on Empty Estate vacillate between “traditional” Wild Nothing cuts and luscious, cinematic dreamscapes. Two of the EP’s highlights are the first two tracks, “The Body in Rainfall” and “Ocean Repeating (Big-Eyed Girl)”. These songs fit into this group’s synth-pop wheelhouse – they would have fit fine in either of Wild Nothing’s two long players. “Ride” sticks out as the best instrumental soundscape, channeling Philip Glass’ wild, sonic adventures.

Album Lowlight: It’s an interesting choice to put out another EP – maybe these were left over tracks from last year that were prettied up for this EP? It seems like they were half way to another excellent full length record. And while the dreamscapes here are interesting, they aren’t always perfect. The final track “Hachiko” wanders off so far that it suffers then dies a slow death – a stark way to end a mostly hazy-yet-upbeat record.

Takeaway: Wild Nothing continues to be a lead innovator of dream-pop indie music with inspiration. With involved dreamscapes like “On Guyot” and “Ride”, Tatum proves he has the chops for scoring cinema – at a minimum for films that deal in experimental, sonically-progressive audio. Overall, this new material gives the visceral feeling of wandering around as part of a journey, not a means to a destination. One device that enhances this feeling is seamless segueing between songs, which happens twice on this shortened record. This EP is another must-listen for fans of Wild Nothing.

~Mike Frash

Wampire – Curiosity

Top Tracks:
“The Hearse”
“Trains”
“Magic Light”

Album Highlights: Ever wondered what Arcade Fire might sound like if they got all new-wave? The answer would be something pretty damned close to the Portland duo which goes by the name Wampire, and they would make rocking music for dark, dark house parties. “Giants” features the semi-characteristic combination of heavy organ flourishes and artificial sounding drum machines, before dropping into a groovy section that even Boris Karloff would get down to. Rocky Tinder and Eric Phipps are the musical buds behind this project, and have been playing together for a length of time, freaking out the Portland party scene, before molding their sound into the more slick production thanks to help from Jake Portrait of Unknown Mortal Orchestra.

Album Lowlight: Curiosity can border on the novelty and kitschy at certain times, but it never really crosses the line, thankfully. Lead single “The Hearse” might have lead many to think this album would be a bit more dance oriented, but the mix of tempos is rather refreshing, in fact.

Takeaway: It’s a dead man’s party, and Wampire are playing said party. These guys have crafted a ghoulishly catchy album full of hook-laden goth dance romps and tenderly macabre ballads. Long anticipation has lead to a fulfilling release that will likely transcribe well to the live stage, even though Wampire seems to be a name blatantly missing from the lower throngs of festival lineups across the country. Children of the 70s and 80s can rejoice in the possibility of their new favorite release being Curiosity.

~Kevin Quandt

Snowden – No One Is in Control

Top Tracks:
“Hiss”
“Don’t Really Know Me”
“So Red”

Album Highlights: Snowden returns with No One Is in Control after a six-year hiatus since their first album, Anti-Anti, a break brought on by label fighting. While singer Jordan Jeffares was unable to create a new album, he was able to continue writing and he churned out some great songs that bring to mind Interpol with a bit more pop and indie rock energy to them. One of the tracks that defines this is “Hiss”, which brings out Jeffares’ down-a-hallway vocals with static filled garage guitars that build to create a insanely catchy chorus and breakdown that leave you moving your head and singing along. “Don’t Really Know Me” is another infectious track that takes the low-fi angle to bring the listener in and sing along.

Album Lowlight: Overall, the album didn’t have many lowlights. “No Words, No More” was a personal non–favorite as I found it a bit boring, but the albums still delivers as far as a sophomore effort goes. If anything, the albums seems to have not matured much from Anti-Anti, possibly due to the long hiatus in between and the log jam of songs it created, but for fans of Snowden I don’t feel they’ll be disappointed as No One Is In Control is Snowden through and through.

Takeaway: Crisp snare pops, low-fi guitars and distant vocals are Snowden’s hallmark and they don’t miss on their sophomore album. Some of the tracks stand out more than others in both song writing and mass appeal, but the album as a whole hits the mark for true fans and those looking to check in on what Jeffares (and Snowden) have been up to these last six years. I would also anticipate this album spawning a host
of remixes from various artists, as San Francisco’s own Lane 8 has already remixed
the lead single of the album “The Beat Comes”, so expect Snowden to follow in the
St. Lucia et..all vein and become a source of remix inspiration in the near future for a
variety of producers.

~Sean Little

Filed Under: New Music, New Music Tuesday Tagged With: New Music, Snowden, Vampire Weekend, Wampire, Wild Nothing

New Music Tuesday: She & Him • Deerhunter • Savages • Mikal Cronin

May 7, 2013 by The Bam Team Leave a Comment

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

She & Him – Volume 3

Top Tracks:
“I Could’ve Been Your Girl”
“Never Wanted Your Love”
“Somebody Sweet To Talk To”

Album Highlights: Consistency is the key to this band’s success, but it also might unintentionally be it’s downfall. The first volume She and Him put out in 2008 was a welcomed breath of fresh air, but not much beyond the production value of their recordings has shown growth from their debut. Zooey Deschanel’s vocals remain at the forefront in their staple Motown throwback stereo. M.Ward’s influence can mostly be seen this time around within the advanced arrangements of tracks like “Never Wanted Love” and “Somebody Sweet To Talk To”. His role, undeniably, is playing second fiddle to the spotlight Deschanel’s mainstream celebrity casts upon the outfit. Although, this album opens itself up to M. Ward’s musical creativity more so than the previous two volumes. While maintaining the Deschanel songwriting template, she definitely crafted these tracks with Ward in mind. And the strongest cuts are the ones he was allowed a bit more free reign on.

Album Lowlight: Embarking upon a musical career during the same time you’re typecasting yourself as an actor can be tricky. Especially when both roles will inherently be effecting your overall branding as a performer. If Deschanel had been given a chance to establish herself as one or the other, chances are she would have been successful in either pursuit. However, since fame came coincidingly, she as well as the work she produces creatively suffers. Whereas enlisting the help from veteran singer songwriter M. Ward proves beneficial, neither of them are fully able to establish their voice in this recording. Efforts made on “Volume 3” are by far the most graduated of the previous two full lengths, the songs still seem reserved and too careful. This even shows when covering Blondie’s “Sunday Girl”, a somewhat tame song compared to the rest of the band’s post punk catalogue. Instead of embracing the energy behind Deborah Harry’s spitfire lead vocals, Deschanel plays it safe with a watered down version of the classically sassy song.

Takeaway: The She and Him dynamic obviously isn’t broken and many may agree that it doesn’t need to be fixed, however if Volume 3 is any indication, there is room for expansion beyond the standard formula. The third album in this duo’s history, conceived at a crucial time in their poster girl’s career, is one that fails to take several creative risks – yet at the same time it offers promise for their future as a band. Stepping away from their typically stripped down compositions and kicking it up a notch in the studio, listeners get a glimpse of what the duo can achieve and hopefully will trend to in future years. Much more than a doe eyed naivete, Deschanel has great vocal capacity and a knack for saccharine, sweet songwriting. M. Wards’ collaborative track record, success as a solo artist and innate production skills are proof in itself that this band unfiltered could be something great. Branching out on tracks like “Together” and “I Could’ve Been Your Girl (reprise)” allude to a possible shift in direction, that if embraced could elevate She and Him to the next level effortlessly.

~Molly Kish

Deerhunter – Monomania

Top Tracks:
“Sleepwalking”
“The Missing”
“Neon Junkyard”

Album Highlights: Deerhunter’s follow-up to their 2010’s classic Halcyon Digest is decided more garage-rock than exploratory or psychedelic, as indicated by the interesting choice of “Monomania” as the lead single. There are more cohesive noise-pop tracks on Deerhunter’s 5th LP Monomania that would play to a wider audience. Take “The Missing” and it’s catchy lyrics over chord-progressive guitar picking from Lockett Pundt, who has mastered single-note electric guitar melody-making with Lotus Plaza. But that’s no fun, because Bradford Cox is punk rock. Monomania is defined as a single pathological preoccupation to the point of partial insanity, and Cox channels this literally in the song by singing “in my head there is something rotting dead”, followed shortly thereafter with the repetitive chanting of “mono-monomania” mid-song, and it continues through until the track is over. And it ends with a crashing minute long outro that is led by a chainsaw. That tells you everything you need to know about Deerhunter’s desire to “go mainstream”; this desire apparently does not exist, and that’s fine. Cox’s unpredictable nature, and subsequently Deerhunter’s seemingly random musical directions, provide surprises that can be thrilling. And it’s Cox’s addiction to constantly creating music with Deerhunter and his solo moniker Atlas Sound that is his monomania, and we appreciate his problem.

The hallmark of a Deerhunter album is the duality of chaotic, noisy garage-psych tracks and simple, shoe-gazey peaceful songs. And often the best Deerhunter tracks somehow unite this order and chaos into a cut that becomes transcendent music – see “Helicopter” or “Coronado” from Halcyon Digest. This contrasting nature of songs, often in alternate track progression, one after the other, is one of the most appealing aspects of Deerhunter record. This time the abrasive, purposefully muddled tracks mostly bookend the LP (except for “Nitebike”), with “Neon Junkyard” and “Monmania” being the most successful high-stress tracks. The “order” songs are smushed into the middle of this sandwich, providing most of the meat. “Sleepwalking” provides hypnotic lyrics that parallel the equally entrancing guitar work. “T.H.M.” is a delightfully unsettling track that sounds like looping, simple Atlas Sound track until they end up layering in a repetitive wheezing sound to the the beat during the outro. The song needed a little more dirt on it.

Album Lowlight: “Nitebike” just doesn’t take flight, and since it’s just Bradford – acoustic guitar and muted vocals – it probably should have been saved and improved for the next Atlas Sound record. “Leather Jacket II” is all shock value, daring the listener to finish it in order to break through to the inversely peaceful subsquent track “The Missing”. “Pensacola” seems out of place, like an odd take on Americana. Overall there are plenty of contrasting moments, but they are sometimes more jarring than awe-inspiring…and that’s most likely intentional.

Takeaway: The drums and bass are gritty, the guitars are distorted and the vocals are high in the mix. These are classic attributes of punk rock, and this raw, loose album could be partially classified as such. In this context, Monomania is a success. The final track of the LP “Punk (La Vie Antérieure)” hints at being punk in a previous life – and Cox seems to have a bit of monomania in regards to the idea of “being punk”. After his striking performance of “Monomania” on Jimmy Fallon, where he wore a wig and walked off stage mid-song into the halls of 30 Rock like a zombie (see lead photo above), Cox was told by the head of his record label that the performance was “great” (via P4K). Cox responded, “I don’t care if it was great…Was it punk?” Bradford Cox later explained, “My idea of punk is not being interested in what other people think of punk.”

This album gets better and better the deeper you get into it, but the triumph is not akin to the success of the last four tracks from Halcyon Digest. But the lofty heights Deerhunter found in Halcyon Digest are not even attempted to be rediscovered here. It felt safe before hearing Monomania to think it might be even more accessible or pop-oriented. But more than ever, Bradford Cox is blazing his own manic path, destroying everyone’s expectations and boggling them into something unexpected.

~Mike Frash

Savages – Silence Yourself

Top Tracks:
“Shut Up”
“I Am Here”
“She Will”

Album Highlights: Savages, the all female post-punk rockers from London who have been generating significant buzz at big name festivals like SXSW & Coachella, have finally released their debut album and its quite impressive. The opening track “Shut Up” starts with a nasty bassline played by Ayse Hassan, who seriously knows her way around the bass. I really enjoyed her work throughout the album. Gemma Thompson on guitar is no slouch either, but really it’s all about Jehnny Beth’s voice. She is a force to be reckoned with and had me constantly thinking of a punked out version of Grace Slick.

Album Lowlight: “Hit Me” doesn’t need to be on the album – it feels like it was thrown in to fill out the record. It starts off extremely aggressive and just turns to noise by the end of the song. There’s a reason why it’s the shortest song on the album. It’s not very good.

Takeaway: Savages are gonna be around for long time if they keep producing music like Silence Yourself. The album really flows nicely except for the one minor hiccup. The band shows their range with the piano driven final track “Marshal Dear”, which leads way to a disoriented horn solo that sends us off quite nicely. This album has so much energy and sheer force, instead of drinking a cup of coffee in the morning, throw on this album. You’ll wake up.

~Pete Mauch

Mikal Cronin – MCII

Top Tracks:
“See It My Way”
“Change”
“Turn Away”

Album Highlights: The self-titled LP release by Mikal Cronin some two years ago was another arrow in the quiver of San Francisco garage rock. Yes, his take on the sound leaned more towards a pop sentiment, and now with MCII he further polishes off the reverb and fuzz. Vocals are also another strong suit for Mikal, as demonstrated on the power psych-pop track “Turn Away”, especially when coupled with an infectious beat, perfect for head bopping and hip shaking. He also digs deeper into the rock-pop sounds that put English music on the map in the 60s. Lastly, closing track titled “Piano Mantra” shows off a new-found knack for song arrangements and composition, combining strings, piano and sludgy guitar.

Album Lowlight: Having grown up playing with Ty Segall and Charlie Mootheart (Fuzz), one might wince at the overt pop sound that permeates this release. However, as a still-young performer he is striking out on his own accord to a sound that fits him more than the thrash and grind of his early contemporaries.

Takeaway: The singer-songwriter side of Cronin truly is one of the most striking aspects of this album, and it’s apparent that when on his own he deviates from the San Francisco psychedelic equation to try his hand at acoustic power chords rather than heavy pedal use. The recent college graduate is one exciting local act to pay attention to, and as he finds a voice and sound all his own. One can only be thrilled for what comes next.

~Kevin Quandt

Filed Under: New Music, New Music Tuesday Tagged With: Deerhunter, Mikail Cronin, New Music, Savages, She & Him

New Music Tuesday: Iggy and the Stooges • !!! • Akron/Family • Neon Neon

April 30, 2013 by The Bam Team Leave a Comment

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Iggy and the Stooges – Ready to Die

Top Tracks:
“Gun”
“Ready to Die”
“Dirty Deal”

Album Highlights: Iggy got the band back together! Ready to Die is the first album released by the original Stooges lineup in over 40 years, and they haven’t messed with their balls-to-the-wall approach to irreverent punk rock. The return of James Williamson following the chemical breakdown of Iggy nearly a half century ago, adds a much needed kick to Iggy and the music he produced in the past years. The title track demonstrates Williamson’s chops to a tee, this coupled with Pop’s knack for rebel lyrics equals one rocking good time.

Album Lowlight: This album was not created to appeal to the masses, and will likely not garner much commercial success. It will please longtime fans, but is unlikely to convert many to this cult or weird and wild. Songs like “DDs” can be easily dismissed as campy and lame, but you know it’s quintessential Iggy Pop, so we have to grin and bear it.

Takeaway: God bless the fact that Williamson decided to call up his old Stooges buddies and lend his stellar playing to a previously sinking ship. I’m sure the supporting tour will feature all the onstage antics that blew minds in the 70s, and with some fresh songs the veil of nostalgia act may be lifted just a bit.

~Kevin Quandt

!!! (Chk Chk Chk) – THR!!!ER

Top Tracks:
“One Girl / One Boy”
“Californiyeah
“Slyd”

Album Highlights: Everyone’s favorite dance-punk group is back with their fifth LP, THR!!!ER. The formula hasn’t shifted for short-shorts frontman Nic Offer and the rest of the groove-tastic band; the instrumentalists build tasty 70’s-inspired drum and bass rhythms for Offer and a disembodied female singer to sing and freak out to.

About half the cuts on the record are instantly addictive & danceable. “Slyd” is a high-energy single with a female-voice hook that gives way to a heavy bass-driven beat. “Californiyeah” explains why they love California over a clap-centric jam, but at the same time tells why they won’t live in the Golden State (“…but why would I live somewhere where the bars close at 2?”). The track that most resembles a traditional ‘song’ and could find radio play is “One Girl / One Boy”, but what what fun is there in normalcy?

Album Lowlight: On the other hand, about half the cuts on the record are shockingly hard to get into, and some never get over the likability hump. It’s not surprising that the biggest offenders have a slower beats-per-minute, present repetitious lyrics without a payoff and end up being too singsongy. “Even When The Water’s Cold” & “Fine Fine Fine” fall into this category. The biggest problem with these tracks is that your ass should be shaking, and it’s not. It’s even more curious as to why these tracks were featured first and fourth on the record.

Takeaway: Chk Chk Chk only partially succeeds with their newest album, which proves that the faster and more intense their songs are, the better. Listening to THR!!!ER is an up and down experience, and the only two songs that really succeed in succession are “Slyd” and “Californiyeah”, and that’s over halfway through it. This effort has produced a big handful of upbeat, catchy tracks that will translate at Chk Chk Chk’s sweaty live shows. In addition, the female voice prominently featured in this record needs to translate to the live experience. !!! should do their best to find a female mirrored version of Nic Offer for live performances – if they could find the right match for Offer’s over-the-top stage presence and alpha-male dance moves, it will take !!! to the next level.

~Mike Frash

Akron/Family – Sub Verses

Top Tracks:
“No Room”
“Until the Morning”
“Whole World is Watching”

Album Highlights: From the opening song “No Room”, it quickly becomes apparent that a long, epic journey in psychedelic folklore is about to transpire. Almost every song starts off on the slower side and builds into a colossal sound full of a variety of percussion and blissful guitar riffs that blend seamlessly into each other. The best example of this is in “Whole World is Watching”, which starts out with industrial sounding drums then breaks into haunting melodies. “Until the Morning”, which is the first single on the album, might be the most “normal” sounding song, but its truly beautiful, capturing the overall emotion of the album.

Album Lowlight: “Holy Boredom” was a little odd even for this album, but it serves its purpose as the transition between the lighter side of the album and the darker side. I see how this song could grow on me though.

Takeaway: This album tackles many different genres and is really a treat to listen to. The mix between psychedelic rock and folk is gaining mainstream popularity, but Akron/Family has been doing it for years and they’ve done it again. The song “Sometimes” is very gloomy and dark, yet “Sand Talk” is uplifting and very catchy. Sub Verses displays a wide range of emotions and each song evokes a different mood.

~Pete Mauch

Neon Neon – Praxis Makes Perfect

Top Tracks:
“Dr. Zhivago”
“Ciao Feltrinelli”
“The Jaguar”

Album Highlights: Super Furry Animal fans rejoice! There is new material, not from Super Furry Animals, but from SFA frontman Gruff Rhys. Being a long time Super Furry Animals fan, and a fan in general of everything Rhys touches, I was excited for the new Neon Neon album. Praxis Makes Perfect is the second album by Neon Neon, a collaborative project between Gruff Rhys and producer Boom Bip.

Praxis Makes Perfect continues Neon Neon’s tradition of conceptual albums. Their debut album, Stainless Style, told the life story of famous automobile engineer John DeLorean. Praxis Makes Perfect centers around the Italian publisher and political activist Giangiacomo Feltrinelli. Song titles like “Dr. Zhivago”, “The Leopard” and “Ciao Feltrinelli” pay homage to Feltrinelli’s career.

Neon Neon creates a unique blend of electronica, pop and indie rock, with a dash of 80’s smooth synth pop. Electro-heavy, Praxis Makes Perfect makes heavy use of the synthesizer. Mix the synth-heavy sounds with Gruff Rhys’s distinctive vocals and you have a catchy, poppy album.

Album Lowlight: This is a short album. Only 10 songs in length, this album clocks in at slightly over 30 minutes. I’m just getting started by the time the album finishes, leaving the listener yearning for more.

Takeaway: Praxis Makes Perfect is a great album despite it’s length. Gruff Rhys’ distinctive voice is at the forefront of this album. You may have heard Gruff Rhys on the Gorillaz’s Plastic Beach, guesting on the song “Superfast Jellyfish.”

Fans of Super Furry Animals will get their fix with this album while they await the group’s next move. I can only hope that SFA is delayed even longer in lieu of a Neon Neon tour.

~Kevin Raos

Filed Under: New Music, New Music Tuesday Tagged With: !!!, Akron/Family, CHK CHK CHK, Iggy and the Stooges, Neon Neon, New Music

New Music Tuesday: Kid Cudi • Phoenix • JUNIP • Har Mar Superstar

April 23, 2013 by The Bam Team 2 Comments

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Kid Cudi – Indicud

Top Tracks:
“Just What I Am” feat. King Chip
“Immortal”
“Unfuckwittable”

Album Highlights: Kid Cudi’s impressive, third record Indicud dropped a week early last Tuesday in response to it’s online leak, and the pushed-up release was slightly overshadowed by the Daft Punk mayhem. Scott Ramon Seguro Mescudi has crafted a masterful mainstream hip-hop record that is radio friendly and touches on familiar themes. Kid Cudi lyrically deals with addiction by embracing it and partying harder, and he brought along a diverse group for support as usual. Indicud includes the often-featured Kendrick Lamar, A$AP Rocky & RZA, but he also samples Father John Misty in “Young Lady” and utilizes Michael Bolton for the refrain in “Afterwards (Bring Yo Friends)”. “Red Eye” features fast-rising indie outfit Haim, which continues Cudi’s trend of working with booming indie rock bands for increased genre-bending credibility (his first LP featured MGMT on “Pursuit of Happiness (nightmare)” and his second record saw St. Vincent involved in “MANIAC”).

Album Lowlight: It can be hard to edit sometimes, but Cudi should have cut four to six tracks from the middle/back-end of the record, honing in on the best material. Axing “Burn Baby Burn” & “Lord of the Sad And Lonely” would have been a good start to making Indicud tighter and more cohesive. Also, the Kendrick Lamar guested track “Solo Dolo Part II” doesn’t shine as one would hope.

Takeaway: Most of the collaborations work brilliantly, but the best cuts overall feature King Chip and dance driven beats. Cudi must be on a mission to make King Chip a star, as this guest highly enhances “Just What I Am”, “Afterwards (Bring Yo Friends)” & “Brothers”. Also there are a handful of fun dance-driven tracks that work surprisingly well and hopefully hint at Cudi’s future direction. “Cold Blooded”, “New York City Rage Fest” & “Afterwards” are less outer-space-inspired confessionals and more dance-driven beds for rhyming. It would have been great to hear Kid Cudi spit over “New York City Rage Fest”, but instead it’s left as an awesome transitional track. Expect a healthy handful of these tracks to go Top 40 throughout 2013.

~Mike Frash

Phoenix – Bankrupt!

Top Tracks:
“Drakkar Noir” –> “Chloroform”
“Entertainment”
“Bankrupt!”

Album Highlights: Upon first listen, Bankrupt! was a bit hard to swallow. If one judges the new Phoenix album within the context of Wolfgang Amadeus Phoenix, then it is a bit of a let down, but that would be inside-the-box thinking. France’s biggest band (which is in question since The Robots apparently playing instruments now) clearly found a different direction by employing worldly sound motifs and by taking a right turn in the songwriting department. The first single “Entertainment” immediately sets a classic eastern tone with the opening keyboard stabs, a sound aesthetic that is new for Phoenix and present throughout much of the record. Although, “Entertainment” quickly transitions to the familiar Phoenix sound, and it’s the closest the record gets to Wolfgang Amadeus Phoenix. The track climaxes with the line “I’d rather be alone,” which summarizes the overall lyrical content of the LP.

The strongest part of Bankrupt! is the one-two punch of “Drakkar Noir” into “Chloroform”. “Drakkar Noir” serves to build the tension, and once “Chloroform” takes hold it’s all pleasurable release. The synth, strong bass, and simple-yet powerful drum beat creates a perfect bed for Thomas Mars to croon “I don’t always tell the truth…I don’t only think of you…my love, my love, my love is cruel”. “Bankrupt!” is an exploratory mostly-instrumental track much like “Love Like a Sunset”, yet “Bankrupt!” is more hard-hitting and pleasantly jarring with it’s synth-led intensity. Phoenix is wise to meld these two instrumental tracks into “Sankrupt!” for their live shows, placing it in the middle of their set and creating an auditory mind melt for the listener.

Album Lowlight: The hooks on many of the cuts sound like a friend whining about the end of a relationship. This losing-love mantra is like hearing your friend blather on at that realization point where he doesn’t love his mate like he once did, or maybe he never did at all. This is the state of mind in the songwriting, and it is slightly repetitive and a bit of a drag.

Takeaway: Bankrupt! is an anti-love record that bleeds passive aggressive snark, especially in comparison to Wolfgang Amadeus Phoenix (I know, inside the box thinking). The former LP was framed around magnificent love lyrics like “Sad is for the lonely…true and everlasting that’s what you are” in “Girlfriend”. Obviously, love has been tough recently in the world of the four core Phoenix members, who all contribute to crafting the music and songwriting. In “The Real Thing”, Mars calls it “almost, almost, almost the real thing … am I the only one?” The next track “S.O.S. in Bel Air” peaks with the crescendoing repetition of “Can’t cross the line but you can’t stop trying” while “Alone, alone, alone…” is cried out to keep the verse going. And in the thrilling track “Chloroform”, the crowning statement is “Why would I long for you?” Musically the tracks are as sophisticated as ever while the lyrics are a bit of a downer.

~Mike Frash

JUNIP – Junip

Top Tracks:
“Line of Fire”
“So Clear”
“Your Life Your Call”

Album Highlights: The awesomeness continues on Junip’s self-titled sophomore release — they just made us wait over two years for its release. A trio from Sweden, Junip’s sound has not dramatically evolved since their 2010 debut Fields; they are the same folk/psychedelic rock band we fell in love with. The stellar vocal delivery by José González, the steadfast drumming from Elias Araya and the astonishing synths from Tobias Winterkorn create an extremely simple yet powerful sound. In fact, the keyboards might be my favorite part of this album. The psychedelic sounds of the synth are laced throughout this record, offering the listener additional layers with subsequent listening.

Album Lowlight: It’s perfect for driving, or just relaxing around the house. It might not be suited to play at a party, and it probably won’t get much radio play either. That does not make it any less wonderful.

Takeaway: Junip’s self-titled album is very mellow, but also ultra-propulsive at the same time. It’s deep rhythm section, use of a variety of percussion, string accompaniment and subtle synth goodness gives this record a very emotional and moving feeling.

~Kevin Raos

Har Mar Superstar – Bye Bye 17

Top Tracks:
“Prisoner” feat. Fabrizio Moretti
“Restless Leg”
“Please Don’t Make Me Hit You”

Album Highlights: The stellar talent that is Sean Tillman, popularly known as Har Mar Superstar, pumps out an infectious album full of swinging R&B this spring. Stepping away from his ever-loved freak-disco party to get soulful, Har Mar shows off his serious singing chops, not to mention his knack for writing wonderfully fun songs. “Prisoner” lays down the funk early in Bye Bye 17, aided by the Strokes’ Fabrizio Moretti. Further on “We Don’t Sleep” beckons to the freak-funk sound of Midnight Vultures era Beck, chock full of sax flourishes and cosmic Clavinet chops.

Album Lowlight: Tillman may be riding coat-tails as the modernized R&B soul sound is permeating contemporary music, but his play on it still aims at pure fun, as per usual for this act.

Takeaway: Good times are sure to follow this album, whether it be on the stage this summer or out of your iPod. Toe-tapping will certainly be a side-effect, so be warned. Sam Cooke would certainly be smiling down on this slice of American soul. One can expect an enjoyable listen from Har Mar as he traverses new styles, departing from his signature sound on his previous four releases. Furthermore, we can look forward to Har Mar doing his best strip review on stage, a performance that would even make Ron Jeremy smile.

~Kevin Quandt

Filed Under: New Music, New Music Tuesday Tagged With: Har Mar Superstar, Junip, Kid Cudi, New Music, Phoenix

New Music Tuesday: Yeah Yeah Yeahs • Major Lazer • The Flaming Lips • The Oh Sees

April 16, 2013 by The Bam Team Leave a Comment

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Yeah Yeah Yeahs – Mosquito

Top Tracks:
“Sacrilege”
“Buried Alive”
“Wedding Song”

Album Highlights: The Yeah Yeah Yeah’s return with an intergalactic, sci-fi laden acid rock odyssey on their fourth studio album Mosquito. Shying away from their typical hard hitting mix of electronic dance hits and New York-centric punk rock, the group explores the outer realms of the musical universe with a less produced sound reminiscent their early, gritty art rock efforts. Some of their best work comes through on track’s like “Despair” and “Buried Alive,” which in many ways reflect influences from late 70’s era Blondie with a bit more of an edge. “Sacrilege” stands out as the most impressive track on the album, drawing from their time spent writing and recording in NOLA. The track hits hard with Karen O’s signature wails and it brings down the house with extra help from the Broadway Inspirational Voices Choir’s fiery cameo.

Album Lowlight: The only discrepancy I find with this album is the lack of proper pacing between tracks. Although I’m sure intentional, the band brings you to such great highs then completely polarizes you with tracks like “Subway” and “Wedding Song.” Both are great songs in their own right, but after such hard hitting predecessing tracks, they are difficult to get into due to their completely stark nature. Upon second or third listen however, these slower songs resonate the most among the bunch, so quite possibly the Yeah Yeah Yeahs may have done this on purpose. It’s super sneaky subliminal intentions or abhorrent disregard to track list cohesion – your call I guess.

Takeaway: Although different than any of their previous efforts, Mosquito is a Yeah Yeah Yeah’s album through and through. Continuing to push contemporary music boundaries and play by individually crafted rules, the band took several risks artistically with this album and per usual it paid off. It looked like Yeah Yeah Yeahs had lost a bit of their bravado with their previous full length, but they made sure to step even further out of the box on Mosquito, reminding all bands classified under the genre “alternative” that there is still a whole lot of room to explore.

~Molly Kish

Major Lazer – Free the Universe

Top Tracks:
“Get Free” feat. Amber Coffman of Dirty Projectors
“Jah No Partial” feat. Flux Pavilion
“Keep Cool” feat. Shaggy & Wynter Gordon

Album Highlights: You’ll find an impressive roster of guests from across the musical spectrum and a more polished sound on Major Lazer’s latest effort. Songs like “Get Free” with Amber Coffman of Dirty Projectors and “Keep Cool” with Shaggy and Wynter Gordon are clear standouts. The collaborations with Flux Pavilion and The Partysquad hit hard. The combination of Bruno Mars, Tyga & Msytic on “Bubble Butt” comes off silly at first, but grows on you with subsequent listens. This is the track that will inspire thousands of photos of girls expressing themselves on Diplo’s Twitter feed.

Album Lowlight: Tracks like “Reach for the Stars” featuring Wyclef Jean and “Playground” featuring Bugle & Arama are forgettable, to the point of feeling like they’re filling the roots-reggae quota for a Major Lazer album.

Takeaway: The oft-delayed sophomore album from Diplo and crew is a solid progression from Guns Don’t Kill People…Lazers Do. Even without his original collaborator Switch, Diplo delivers club bangers (“Jet Blue”), dancehall jams (“Playground”) and even radio-friendly hits (“Keep Cool”). Though the album does no justice to a live Major Lazer experience, it makes valiant effort to bring the home listener there. Twerking is optional, but encouraged.

~Eric Shaden

The Flaming Lips – The Terror

Top Tracks:
“Try to Explain”
“Turning Violent”

Album Highlights: One thing is for certain, The Flaming Lips aren’t going for radio play with their new album The Terror. Wayne Coyne, the mad genius behind The Flaming Lips, has been evolving the band’s sound ever since the “She Don’t Use Jelly” days. And boy, are those days long gone. The Terror paints a sonic landscape that sounds as if it’s the soundtrack to 2001: A Space Odyssey on psilocybin. Take one look at Wayne Coyne’s Instagram feed, and this isn’t too far from the truth. However, I believe this album can have it’s time and place. I might put this album on at a party, if I want the party to immediately disperse. I might put this album on at a bar, if I had a personal vendetta against the bar or it’s patrons. The most redeeming quality of this album is only available in the UK with the bonus disc that contains a cover of The Beatles “All You Need Is Love” with Alex and Jade from Edward Sharpe and the Magnetic Zeros.

Album Lowlight: The days of Yoshimi Battles the Pink Robots are long over and are not coming back anytime soon. The Flaming Lips have been going down this road since 2009’s Embyronic. The classic Flaming Lips sound (see almost everything before Embryonic) of upbeat, happy, psychedelic songs is no more. In fact, like Embyronic, The Terror has little that resembles an actual song. The only melody that got stuck in my head was the phrase “Lust to succeed” from the song “You Lust,” and I just felt like a crazy person singing that around the office today. The Terror consists primarily mechanical industrial cosmic noises that sounds like it was made with the same Moog app I have on my iPad.

Takeaway: I probably won’t listen to this album again after I complete this review. Maybe I am missing the point? For the record, I LOVE the Flaming Lips. I’ve seen them live numerous times and have a ton of respect for Wayne Coyne and the gang, but their albums just aren’t doing it for me these days. Having said all this, I will still go see them in concert any day.

~Kevin Raos

The Oh Sees – Floating Coffin

Top Tracks:
“I Come From the Mountain”
“Toe Cutter/Thumb Buster”
“Minotaur”

Album Highlights: John Dwyer and Thee Oh Sees have been continually evolving their garage punk sound, and now it has bloomed into a fully thick sonic stew that is tough to ignore. The Floating Coffin is the lushest release to date and easily the most infectious as the songs pop, full of driving guitar riffs, pummeling drum beats and the characteristic yelp of Dwyer’s vocals. It jumps out of the gates quickly and keeps your head banging, or nodding, throughout. A more evenly distributed creative process among the group was featured on this album as Dwyer has now seemed to settle on the current lineup after years of tweaking. Songs like “No Spell” display a delicacy coupled with a lead-weight heaviness that is unlike anything they have released. These guys make me proud to live in San Francisco.

Album Lowlight: The only gripe I have is towards the end of “Sweets Helicopter,” as the songs builds into a dark tornado there is a completely out of place bass synth. It doesn’t detract from the song too much, but just feels a bit unnecessary from a band whom traditionally relies on more basic instrumentation.

Takeaway: How The Floating Coffin seems to be both equally heavy and light is an enigma to this writer, but that’s Thee Oh Sees for you. On this latest release they explore the many cob-webbed corners of psychedelia and garage rock, expunging the purest forms of rock and roll and tossing them blatantly in the faces of their listeners and fans. Expect this release to garner more attention than previous ones as Dwyer has traded in the jangle-twang for an aural thickness. Expect a big summer from this rising Bay Area landmark.

~Kevin Quandt

Filed Under: New Music, New Music Tuesday Tagged With: Major Lazer, New Music, The Flaming Lips, Thee Oh Sees, Yeah Yeah Yeah's

New Music Tuesday: James Blake • Jake Bugg • The Knife • Kurt Vile • The Dear Hunter • White Fence

April 9, 2013 by The Bam Team 2 Comments

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

James Blake – Overgrown

Top Tracks:
“Retrograde”
“Voyeur”
“Digital Lion”

Album Highlights: James Blake continues his standout formula with his sophomore LP; confessional musings with vocal modulation and repetitive lyrics are matched by deconstructed R&B dub step beats and orchestral builds. The most successful tracks are the ones that discover new territory within Blunt’s sound aesthetic. “Voyeur” drops into a blissful dance track for the last third of the cut, driven by moaning synths and surprisingly, a cowbell. “Digital Lion” possesses a tribal ethos that will entice auditory climaxes at concerts all over the world throughout 2013. “Retrograde” is the quintessential track of the record – Blake’s wordless crooning grows into haunting vocal layering as the song progresses.

Album Lowlight: In the end it can be classified as moody music, in that you need to be somewhere between a mellow or drab mood to really get into Blake’s music. Lots of folks will give Overgrown a cursory listen and not notice the intricacies of the record. This would be a mistake.

Takeaway: While this record is a bit of a grower and is exponentially better upon repeat listens, it’s still hypnotic fresh out of the box. The collaboration with RZA on “Take a Fall For Me” flashes even further genre-diverse potential in Blake. With a range that extends from gospel to electronic music to hip hop, the future is blindingly bright for the young British artist. At the age of 24, Blake has crafted an impressive second record with less obvious singles than his self titled debut, yet as a whole his newest effort is more cohesive. It’s worth reiterating how impressive Blake’s writing is. Gems like “I don’t want to be a star, but a stone on the shore, no door frame to wall, when everything’s overgrown” display seriously mature songwriting skills.

~Mike Frash

Jake Bugg – Jake Bugg

Top Tracks:
“Two Fingers”
“Broken”
“Lightning Bolt”

Album Highlights: It’s impossible not to sound hyperbolic in describing 19 year-old Jake Bugg. England’s finest and fastest-rising young artist has created a record exploding with exported Americana at it’s best. No shit, it sounds like Joan Baez is about to pop up and start a duet at any moment. All you have to do is listen to the first two tracks “Lightning Bolt” and “Two Fingers” to recognize the kid’s got it. These two songs would have been radio hits in the 60’s, and they should be now. “Broken” is a remarkably beautiful song, one that is lovable at first listen. The low-fi, one-take production works well, and it reinforces Bugg’s throwback sound.

Album Lowlight: Bugg’s lyrics would benefit from a bit more bite – maybe some contempt for society or a cause to rally for (or against) would give some songs more meaning. His songwriting point of view will only strengthen and mature with time.

Takeaway: He’s Dylan without the drawn out vocal exclamations, or Kristian Matsson (The Tallest Man on Earth) with less passionate howls. And I feel fine making these comparisons, as Bugg’s self-titled debut exhibits songwriting potential that could be on par with the aforementioned by the time the he finishes puberty. Plan on watching Jake Bugg’s career evolve indefinitely – he’s sure to keep gaining popularity going forward, and deservedly so.

~Mike Frash

The Knife – Shaking the Habitual

Top Tracks:
“A Tooth for an Eye”
“Full of Fire”
“Without You My Life Would Be Boring”

Album Highlight: “Without You My Life Would Be Boring” being the crowning achievement of their fourth studio album, this beat-driven banger exemplifies the Swedish duo’s ferocious return to the EDM scene after a seven-year hiatus. Karrin Andersson’s layered vocals pitch perfectly with the varied flute samples and southeast instrumentation. A looping rhythm section composed of tribal drum rolls and feverish tambourines keep pace throughout the entire track, and this ups the ante in respect to the band’s production quality and composition.

Album Lowlight: Clocking in at a whopping 19:52, “Old Dreams Waiting to Be Realized” is more of a glorified soundscape than a corresponding track within the record. Waiting for the musical substance to kick in becomes a perilous journey through distant distortion and ambiguous song structure. I envision this piece contextually effective as a cinematic score or accompanying an art installation. Interesting as it is to listen to The Knife on an experimental level, the track placement as well as duration push the limits artistically into semi-obnoxious territory.

Takeaway: Marching to the beat of their own drum machines, Karrin Andresson and Olof Dreijer destroy the sample-laden “Full of Fire” with masterfully quirky cohesion. The Knife sibling’s chemistry, even amidst the structure of the most complicated effort on the album, can be heard and it is captivating. The song is elaborate and possesses a sound quality that at times can be overwhelming. However, true to The Knife’s form, it compels the listener’s attention and will provoke most to make an attempt at comprehending it’s complexity.

~Molly Kish

Kurt Vile – Wakin on a Pretty Daze

Top Tracks:
“Girl Called Alex”
“Pure Rain”
“Shame Chamber”

Album Highlights: God Bless Kurt Vile. He is truly a beautifully patient writer, musician and performer whom creates some of the most genuine music of our time, not to mention he is consistent. The wait after 2011’s blisteringly magnificent Smoke Ring as My Halo was well worth it with a full, even lengthy, album packed neatly with Vile’s signature psychedelia. The title track leads off with a hazy acoustic romp that sets the tone for the majority, and this song is full of Vile’s twang-electric solos that one can easily get lost in. Vile’s everyman confessional comes through on “Too Hard” with lyrics like “Take your time/ so they say/ that’s gotta be the best way.” Displaying a lyrical maturity akin to the Walkmen would be a fair comparison.

Album Lowlight: No huge departure in sound, just a tightening of a signature style. Though “Air Bud” does add a synth layer that is a bit more contemporary for this artist. Lengthy songs may prove difficult to those whom don’t possess musical patience.

Takeaway: Upwards and onwards is a great way to describe this album, as well as Vile’s future in the industry. Banner sets at Coachella will likely prove to be a highlight, and the accompanying tour is sure to generate buzz, as has proven true in the past for the Philly native. Songs like “Girl Called Alex” sludge along in an upbeat manner, building precisely with warm organ flourishes in the background, equally a sonic thickness he has become so praised for. Wakin on a Pretty Daze is likely to be the soundtrack of the summer, and for excellent reason.

~Kevin Quandt

The Dear Hunter – Migrant

Top Tracks:
“Shame”
“Shouting in the Rain”
“Girl”

Album Highlights: A small indie rock band originating from Rhode Island, The Dear Hunter has been making a splash in the indie scene since 2006. Brainchild of Casey Crescenzo, The Dear Hunter’s 5th album Migrant is a departure from their previous conceptual album The Color Spectrum. Casey’s powerful and emotional lyrics, both in delivery and content, are the clear highlight of this record. Haunting at times, Crescenzo’s commanding lyrics take the listener on a euphonious journey. This lyrical adventure is something listeners have become accustomed to when listening to The Dear Hunter albums.

Album Lowlight: The same reason I praise it above, is the same reason I criticize it here. Casey’s lyrics are powerful, but at times they become effusive. I almost had lyrical fatigue a couple of times listening to this record. This criticism however, is likely a personal preference, and should not be judged until you hear this record for yourself.

Takeaway: The Dear Hunter’s music falls somewhere in the indie, progressive, post-rock genre. Mixing traditional rock instrumentation with a string accompaniment, Migrant incorporates many styles to create a unique blend of “rock.” The Dear Hunter is a band that has had great critical reception, yet they have not taken off with widespread audiences. They are a well-kept secret of the indie music scene that has earned them an extremely loyal and dedicated following. Perhaps it is the concept albums of the past that have prevented them from breaking through with the masses? The talent and star power are there, it’s just a matter of putting this music on as many ears as possible.

~Kevin Raos

White Fence – Cyclops Reap

Top Tracks:
“Beat”
“Make Them Dinner at Our Shoes”
“To the Boy I Jumped in the Hemlock Alley”

Album Highlights: Here comes another serving of Tim Presley’s patented brand of lo-fi psychedelic guitar rock. This time we are treated to a single release, as opposed to the double album that was Family Perfume. Presley re-imagines the era of trippy rock and roll that dominated the late 60s with his nasal, English-tinged vocals coupled with twangy guitars swirling to create an aural whirlwind. “New Edinburgh” fully displays the fuzzy sound that has become characteristic of this project. One can only hope to snatch up a vinyl copy of this album, as that seems to be the way it was meant to be heard.

Album Lowlight: At times the production can come across as too busy as seen in first single “Pink Gorilla.” In a live format, the band has a much crisper sound that is a little more palpable for the masses.

Takeaway: One of the more unique acts championing the lo-fi psychedelic sound at the moment, and this album shows off the production skills Presley has gained over the past decade. White Fence has garnered some solid critical success in the past few years, and will likely add-on to that even if the masses prefer the more slick take on 60s psychedelia played by the likes of Foxygen and Tame Impala.

~Kevin Quandt

Filed Under: Featured, New Music, New Music Tuesday Tagged With: Jake Bugg, James Blake, Kurt Vile, New Music, The Dear Hunter, The Knife, White Fence

New Music Tuesday: Tyler, The Creator • Alkaline Trio • Cold War Kids • The Black Angels • Charles Bradley

April 2, 2013 by The Bam Team 2 Comments

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Tyler, The Creator – Wolf

Top Tracks:
“Jamba”
“Colossus”
“IFHY”

Album Highlights: “Wolf” opens Tyler’s new album, flexing his pension for odd intros before bursting into “Jamba.” At this point, you are either nodding along with the analog-sounding beat and rhymes or have turned off the album in disgust. This is the nature of Odd Future Wolf Gang Kill Them All’s ringleader. Love or hate him, Tyler has churned out a stylish album full of profanity and confessional sincerity. “Slater” features the smooth vocals of Frank Ocean, just one of many guests, including most of Odd Future along with Pharrell Williams and Erykah Badu.

Album Lowlight: As long as you can take his obscenity with a grain of salt, realizing this is his “art,” you will enjoy this album if a fan of off-kilter hip-hop. Many people may write off the whole thing as juvenile, but once you look past that there is lots of fun to be had on this release.

Takeaway: Wolf is a wild romp of an album, as is to be expected from the off-the-wall personality that is Tyler, The Creator. The pace of the album is a bit reserved, which is refreshing coupled with the blistering baritone voice of Tyler. Maturity may come slow for this crew, but that certainly does not mean there isn’t a fair amount of talent shining through all the obscenity and profanity.

~Kevin Quandt

Alkaline Trio – My Shame Is True

Top Tracks:
“Kiss You to Death”
“The Torture Doctor”
“I’m Only Here to Disappoint”

Album Highlights: “Kiss You to Death” is my personal favorite, as it has a style similar to the songs that gave Alkaline Trio its start. Staccato guitars and big break downs with harmonic vocals that play on the juxtaposition of love, life and death all come together in this track to make you nostalgic for their earlier works, when all the songs seemed to have this same energy and feeling behind them.

Album Lowlight: “Only Love” was a bit of a snoozer to me, and it just sounded like they needed to throw in a more down tempo, change of pace song. It’s also just plain boring, with the chord progressions being pretty repetitive and the slight organ sound in the background just making it seem overproduced and more formulaic pop than the other songs.

Takeaway: “The Torture Doctor” grew on me the more I listened to it. It’s got enough energy and harmony to bring back memories of their older work, but enough maturity to give hope that the band’s particular brand of pop infused, tongue in cheek dark rock can keep going for years to come without sacrificing quality. Overall the album wasn’t amazing, but it has a handful of tracks that will entertain old fans and new fans alike.

~Sean Little

Cold War Kids – Dear Miss Lonelyhearts

Top Tracks:
“Miracle Mile”
“Lost That Easy”
“Tuxedos”

Album Highlight: Packing a punch with “Miracle Mile”, Cold War Kids kick off their fourth album with a track that gives established fans, new listeners and soon-to-be-converts a friendly reminder of just how talented of a powerhouse act they are. Nathan Willet’s vocals reign true, but aren’t necessarily the focus of this piano driven, guitar heavy track. Regardless of where this pop-rock anthem fits into a live set, it will undoubtedly get the crowd on its feet screaming along with the falsetto laced call-response chorus.

Album Lowlight: Although characteristic for the band to throw a couple slow, drawn-out tracks on each album, “Dear Ms. Lonely Hearts” almost is trying to be too epic. The initial build-up prepares you for what lies ahead, but it takes too long to kick in to the remainder of the song. Once past the initial lyrics and operatic drum rolls, the song still remains sub par and simply gets by on the Willet’s vocal skills.

Takeaway: An unexpected electronic effort, Cold War Kids masterfully execute their dance-rock track “Loner Phase”, showcasing their versatility as songwriters and ability to assimilate to current musical trends. Known as a band with a pension to branch out style-wise, this track ups the ante creatively and brings a whole new level of intensity to the band as they teeter between indie rock and mainstream success.

~Molly Kish

The Black Angels – Indigo Meadow

Top Tracks:
“Don’t Play with Guns”
“Indigo Meadow”
“Evil Things”

Album Highlights: The opening three songs to Indigo Meadow are the heavy hitters in the bunch, especially the first single “Don’t Play with Guns”, which is dark, psychedelic and could easily come from prior generations if you didn’t know better. The title track and opening song “Indigo Meadow” sets the stage quite nicely for the whole album, which contains The Black Angels’ signature psych-rock.

Album Lowlight: Indigo Meadow fucking rocks, but a few songs were a little too polished. I love the dirty acid rock that these guys started playing almost a decade ago in a grungy garage in Austin. Don’t stray too far.

Takeaway: If you dig the psychedelic sounds of the Velvet Underground and Jefferson Airplane, then I would definitely recommend Indigo Meadow. A casual listen will not do this album justice. You must listen to it loud and late at night — and you’ll get the idea.

~Pete Mauch

Charles Bradley – Victim of Love

Top Tracks:
“Love Bug Blues”
“Strictly Reserved for You”
“You Put the Flame on It”

Album Highlights: Charles Bradley, The Screaming Eagle of Soul himself, is back with his sophomore release Victim of Love. Just like 2011’s No Time For Dreaming, Bradley pours his soul out with every song he sings. This man bleeds soul. Victim of Love continues where No Time For Dreaming left off, full of sounds reminiscent of the 60’s and 70’s. You won’t know what decade you’re in when listening to Charles Bradley.

Album Lowlight: Don’t get me wrong, Bradley oozes and drips soul from every pore of his body, and as great as this style is, it feels somewhat pedestrian at times. Not much new musical ground is broken with Victim of Love, but that’s not the point. This album is all about the funk, soul and Bradley’s emotional release, which is very apparent with this record.

Takeaway: They don’t call him The Screaming Eagle of Soul for nothing. Charles Bradley is a modern day soul singer who draws comparisons to James Brown and Otis Redding. That’s quite a pair to be associated with, but who else is doing what Bradley is doing these days?

~Kevin Raos

Filed Under: New Music, New Music Tuesday Tagged With: Alkaline Trio, Charles Bradley, Cold War Kids, New Music, The Black Angels, the Creator, Tyler the Creator

New Music Tuesday: Depeche Mode • The Strokes • Wavves

March 26, 2013 by The Bam Team Leave a Comment

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Depeche Mode – Delta Machine

Top Tracks:
“Heaven”
“Secret to the End”
“Alone”

Album Highlights: The song that grabs me the most is “Alone”, as it features Dave Grahan’s haunting baritone voice while Martin Gore lays down many layers of synth and drumbeats. The first single off Delta Machine, “Heaven” is close to the classic style of Depeche Mode, with more harmonies between the singers, and it’s fuzzy sound quality provides the listener with classic Depeche Mode peripherals.

Album Lowlight: Depeche Mode knows what works for them so they stick to it. I would of liked to see some different styles in some of the songs, but they didn’t deviate too far from their past work. It’s hard to blame Depeche Mode for sticking to their sound, as 80’s synth-based music is present today more than ever.

Takeaway: These 80’s electro-pop Veterans churned out another album of synth-heavy tunes that evoke many past memories of their previous work. Diehard Depeche Mode fans will probably enjoy this album just for the sole purpose of having new tracks to listen to, but I don’t see many new fans being won over by this record.

~Pete Mauch

The Strokes – Comedown Machine

Top Tracks:
“Slow Animals”
“Happy Ending”
“All the Time”
“One Way Trigger”

Album Highlights: A subtle step in a soulful direction, the Strokes branch out with R&B vocals and baseline tricks they have unfortunately kept hidden up their sleeves until this album. Sandwiched between choruses defined by their signature guitar riffs and lyrical structure, “Slow Animals” isn’t too far out of their comfort zone, but resonates nonetheless. Hearing Casablanca’s range in a different tone is refreshing, and the band’s baritone harmonizing is not only catchy but sheds a whole new light on where the band could be headed in the long term.

Album Lowlight: Cut “Call It Fate, Call It Karma” in half and it still would have had the same creative impact without seeming pretentiously drawn out. I may have just had too high of expectations for what the Strokes could’ve done with a traditional samba, but this one falls short regardless of my preconceived notions. The track sounds like Casablanca is drunkenly crooning in a bathtub down the hallway, trying to be drowned out by his neighbors’ french pop vinyls.

Takeaway: Taking a note from their Beggar’s Group labelmates Beirut, the Strokes introduce an electro element to the album with the accordion-simulated pop gem “One Way Trigger”. Pulsating drums, Spanish guitar and Casablanca’s gorgeous falsettos make this easily the most catchy and energetic track on the album. It’s destined for commercial airplay and chart-topping success. Summer time hit is written all over it.

~Molly Kish

Wavves – Afraid of Heights

Top Tracks:
“Sail to the Sun”
“Afraid of Heights” feat. Jenny Lewis
“Beat Me Up”

Album Highlights: Nathan Williams’ Wavves are at it again, doing what they generally do best; write angst-ridden songs coupled with his nasal voice and insanely poppy guitar hooks. However, on this current release we see Wavves take advantage of their signing to a major label, which in turn means a slight departure from the lo-fi sound. Production really shines through here for this still-young band. Lyrically, Williams has not strayed too far from his dropout, stoner ethos we have become used to. “I’ll always be on my own,” is shouted on track “Demon to Lean On.”

Album Lowlight: The release of King of the Beach many years ago cemented the band’s status as a contender in the running for the garage rock crown. A high profile relationship with Bethany Consentino of Best Coast catapulted the band further, but after many years and many similar acts, the formula is starting to wear thin for Williams. The album clocks in at over 40 minutes, an impressive feat, but can tend to drag on towards the end.

Takeaway: Fans of the band will surely eat up this album, playing it on heavy rotation most of the summertime, understandably. Though it is more polished than previous efforts, it is still gonna make the kids stage dive and pogo along at their shows, as demonstrated at Bottom of the Hill last weekend. Self-loathing has never been more fun!

~Kevin Quandt

Filed Under: New Music, New Music Tuesday Tagged With: Depeche Mode, New Music, The Strokes, Wavves

New Music Tuesday: Justin Timberlake • Black Rebel Motorcycle Club • Palma Violets • Phosphorescent • Low

March 19, 2013 by The Bam Team Leave a Comment

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Justin Timberlake – The 20/20 Experience

Top Tracks:
“Pusher Love Girl”
“Suit & Tie”
“Strawberry Bubblegum”

Album Highlights: Justin Timberlake, boy band heartthrob gone full-blown-pop-megastar-actor-sex-symbol, has released one of the most interesting R&B pop albums in years. The 20/20 Experience is an album of two halves. First there’s the radio-edit half, mostly catchy pop tunes that are, for the most part, pretty standard. Then there’s the musical outro half. The dancey half, booty-shakin half. Most tracks on 20/20 are over 7 minutes, and contain an extended dance outro. Songs like “Pusher Love Girl,” “Don’t Hold the Wall” and “Strawberry Bubblegum,” to name a few, have extended dance time. This second half concept is what makes the album so interesting, and it opens the door to unlimited musical possibilities. From the dirty south to jazz clubs, this album touches upon many genres and styles. With The 20/20 Experience, Timberlake can have his cake and eat it, too.

I love it and I hate at the same time. It’s so poppy and produced, yet it hooks you with the musical interludes. There really is something for everyone on this record.

Album Lowlight: This album draws from so much of what has been done in the past. The beat in “Suit & Tie” sounds like an updated version of the beat from Outkast’s “Rosa Parks.” But it works, that’s why it’s so popular.

Takeaway: JT has created an album that contains songs with two distinct halves. The first half, the radio-friendly half, will be heard on AM/FM dials from here to Bombay. The second half, the half that makes me want to buy $10 watered down cocktails and grind on the dance floor until sunrise, will be responsible for unplanned pregnancies for years to come. Don’t expect to have a quiet evening with Pintrest and your hubbie while sipping Gewurztraminer in your snuggie with 20/20. Expect to channel your inner R. Kelly and bump n’ grind to this album. It is this yin-yang dynamic that makes this album worth a listen.

And just when you’ve had enough Justin, Timberlake announced on Monday that the second half to The 20/20 Experience is on the way.

~Kevin Raos

Black Rebel Motorcycle Club – Specter at the Feast

Top Tracks:
“Fire Walker”
“Hate the Taste”
“Funny Games”

Album Highlights: This seventh full-length release from the leather clad rockers signifies their return after years off the radar, and they have turned a painful time (death of crew member) into one of their best albums to date. A split album of heavy and mellow rock is evident, but doesn’t detract much as the album acts as tribute to a fallen brethren. Fuzzed out guitar and bass has made it’s way back to the forefront as demonstrated on soul-tinged track, “Hate the Taste.” The brooding tension on “Sell It” is some of the heaviest music out of these guys, and is one track you can’t resist head-banging to.

Album Lowlight: Nothing ground-breaking from this rock band. Though they weren’t active 20 years ago, the album does have a sound that might have been more palpable in the 1990s, alongside bands like Alice in Chains and Tool.

Takeaway: Specter at the Feast features the band’s return to straight ahead garage rock after flourishes in alt-country and outlying styles. Expect a big year from them as this record will win over new fans while fulfilling the desires of almost all longtime fans with a return to the B.R.M.C. sound that launched their career. A must listen for fans of harder-edged music, and a repeater for fans of leather jackets and true rock and roll.

~Kevin Quandt

Palma Violets – 180

Top Tracks:
“Step Up for the Cool Cats”
“Rattlesnake Highway”
“I Found Love”

Album Highlights: Reminiscent of a western themed battle hymn, the band channels punk rock roots in the format and lyrical structure of “Chicken Dippers”. Equal parts a moody ballad and rockabilly revamp, “Chicken Dippers” showcases both the band’s musical talent and songwriting ingenuity. A creative risk uncommon on most debut albums, Palma Violets pulled this track off with the bravado of seasoned professionals.

Album Lowlight: Sounding more like the band professionally edited this during a studio warm up, the lyrics to “Last of the Summer Wine” are lackluster and the song’s composition is all over the place. This track’s delayed pick up leaves you in anticipation for a climax which is never fully reached, bottoming out awkwardly into a conclusion that even the band talked through while recording. Guess they were that bored.

Takeaway: A stomp box and surf guitar riff lead you into the lo-fi “Best of Friends” that instantly hooks you from the moment Sam Fryer shrieks out the opening lyrics. An homage to the clangy Brit rock singalongs of the late 60’s, Palma Violets produce a rousing garage rock anthem bound to be a crowd favorite during live performances. This track is not only the perfect introduction to the bands overall sound, but also is the strongest representation of their group dynamic on the album.

~Molly Kish

Phosphorescent – Muchacho

Top Tracks:
“Song for Zula”
“The Quotidian Beasts”
“A Charm / A Blade”

Album Highlights: If all “country music” sounded this good, I might be able to move away from the city. The opening “Invocation” and closing “Exit” songs frame Muchacho with such sonically delightful harmonization that the bookend helps all tracks within it shine. “Song for Zula,” the second track on the record, is surely in the running for best song of the year going forward. Matthew Houck’s spiritual voice is matched by a layering and swelling of strings. The track is striking as a timeless song at first listen, and it succeeds while hardly rooting itself in any of today’s trends. “Song for Zula” holds so much emotion it’s cinematic – the song could carry a boring montage to lofty heights and probably will. The third track “Ride On / Right On” is based around a crunchy beat and distorted guitar, creating a contrasting instrumental base for Houck’s vocals. Either way, whether featuring his voice over a symphonic, hopeful chorus or a steady distorted head-bobber, it all works magnificently.

Album Lowlight: The standard country arrangements in “Terror in the Canyons” and “Muchacho’s Tune” cause the tracks to end up hidden within the scope of the record, yet these cuts provide just enough pause to help you realize how easy this record is to absorb, and how addictive it is.

Takeaway: It’s all win for the most diverse-sounding and best Phosphorescent album yet. Muchacho is a soaring LP, and one of the best so far this year. The latter third of the record, from “A New Anhedonia” through the end, might be the strongest section. It’s power lies within “The Quotidian Beasts,” an epic track in the vein of Crazy Horse and The Allman Brothers that might serve as a rambling set-closer live. Instantly catchy yet nuanced, Muchacho achieves an elevated sound quality and long-lasting resonance through varied arrangements that serve as a continuous bed for Houck’s desperate, searching voice.

~Mike Frash

Low – The Invisible Way

Top Tracks:
“Plastic Cup”
“Holy Ghost”
“Just Make It Stop”

Album Highlights: The subtle guitar and piano work fits perfectly with the angelic harmonies of husband and wife duo of Alan Sparhawk and Mimi Parker. The simpleness of this album is what makes the harmonies truly stand out and makes this album special.

Album Lowlight: The pace of the album is really slow, so if you’re looking for a jump start to your day this album is not for you.

Takeaway: Producer Jeff Tweedy from Wilco seemed to stay out of the way in his production duties and let the trio truly shine on their own. The harmonies and lyrics are what stand out on this album, especially the album opener “Plastic Cup,” where Sparhawk explains how our trash will be looked upon as a kings treasure in the future.

~Pete Mauch

Filed Under: New Music, New Music Tuesday Tagged With: Black Rebel Motorcycle Club, Justin Timberlake, Low, New Music, Palma Violets, Phosphorescent

New Music Tuesday: David Bowie • Biffy Clyro • Devendra Banhart • Pickwick

March 12, 2013 by The Bam Team Leave a Comment

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

David Bowie – The Next Day

Top Tracks:
“The Stars (Are Out Tonight)”
“I’d Rather Be High”
“If You Can See Me”

Album Highlights: Ten years since his last album, David Bowie has returned to the studio for his 24th studio album, The Next Day. Just when you thought you’d heard the last of the Thin White Duke, David Bowie, now 66, proves he can still write a solid rock album, and keep the whole project a secret for two years!

Bringing back much of the band from his last album, 2003’s Reality, The Next Day is an incredibly self-reflective and upbeat album, despite intense themes of death. In the opening and title-track, Bowie proclaims he is “not quite dying” and “just walking the dead.” These themes of death and dying are prevalent throughout the entire album, with tracks such as “Where Are We Now?,” “I’d Rather Be High” and “The Stars (Are Out Tonight).”

The Next Day is a rock album at heart. However there are several deviations from this, the first being “Dirty Boys,” which draws on brass band elements from the dirty south. Other deviations include the first single on the album, and by far the slowest song on the The Next Day, “Where Are We Now?” The most interesting song on the album is the TV on the Radio-sounding “If You Can See Me.”

Album Lowlight: In January, Bowie released the first single “Where Are We Now?”, completely unannounced to the surprise of the world. Incredibly slow and accompanied by a string arrangement, I felt like I was hearing the last whispering breaths of a former rock icon. Not only is this track a poor choice for the first single but it does not give an accurate preview of what The Next Day has to offer – a very upbeat rock album. Perhaps this was intentional? I can hear the critics praising this as “genius” now.

Takeaway: It is clear Bowie has been doing a lot of thinking in the last decade. On The Next Day it sounds as if Bowie is coming to terms with aging and the impending reality of death. Yet despite this ominous tone to some of the songs, there is a sense of satisfaction and enlightenment. Bowie has evolved and grown with age. The days of Ziggy Stardust are long gone, yet Bowie has found a way to stay relevant in today’s diverse musical landscape.

~Kevin Raos

Biffy Clyro – Opposites

Top Tracks:
“Modern Magic Formula”
“Different People”
“Biblical”

Album Highlights: For one of Britain’s most popular contemporary rock bands, the Scottish trio Biffy Clyro is relatively unknown this side of the pond. Opposites is their 6th long player, and it was originally mapped out as two separate records. Instead, Biffy Clyro’s new 20-track release presents metal-influenced power rock to the masses. This record is certainly ambitious, yet it’s predictable & formulaic, even though it teeters between old-school metal and newer rock and roll akin to Frightened Rabbit. The tempo changes frequently from track to track and within songs, offering ballads like “Opposite” and ecstatic Foo Fighter-esque riffs in “Modern Magic Formula.” They have some metal influenced tracks (“Stingin’ Belle”), yet Biffy Clyro will also include strings (“The Thaw”) or horns (“Spanish Radio”) to add an emotional layer. This is no one-trick pony when it comes to the energy and effort put into the diversity of sound.

Album Lowlight: Since finding mainstream success by ditching the noisy and decidedly un-pop nature of their early work and focusing more on cohesive song structure, Biffy Clyro’s music has become numbing. The third track of the LP “Sounds Like Balloons” is a prime example. The guitar riff is repetitive and annoying, and the track never attempts to search for auditory payoff. The tracks in Opposites lose emotion the more you replay the record; any meaning that was present at first listen retreats quickly. Simon Neil’s vocals are homogenous and consistently monotonous, and frequent harmonizing doesn’t make it much better. Most affronting, too many songs end up in cheesy chorus territory.

Takeaway: While they were known for being unpredictable in the early aughts, this Scottish trio is mostly churning out generic power rock now. Super fans of Biffy Clyro might see this album as genius material, but to the uninitiated, Opposites is spread too thin and mostly puzzling.

~Mike Frash

Devendra Banhart – Mala

Top Tracks:
“Fur Hildegard von Bingen”
“Tauroboium”
“Golden Girls and a Gain”

Album Highlights: Devendra Banhart’s eighth album Mala was recorded with the help of longtime compadre Noah Georgeson, using borrowed equipment and playing most of the instruments themselves. Mala digs deep into the old bag of tricks to dust off the Devendra that we all fell in love with over a decade ago. We are not getting the album that squarely features Devendra’s whimsical voice and guitar that we all desire (see The Charles C. Leary & Oh Me Oh My). Though Mala has several nods to these beautiful nostalgic sounds with “A Gain,” “Won’t You Come Home,” and “Taurobolium,” adding to a refined, mature, and technologically advanced sound. Devendra’s warm vibrato voice, heavy treble bass runs, and bright guitar/synth riffs shine new light to a dance/electro genre hoping flow.

Album Lowlight: The sad, humorously dark love story lyrics, “If we ever make sweet love again, I’m sure that it will be quite disgusting, race to the end, race to the end,” are at least accompanied by one of the many fresh sounds on Mala, but these lyrics on “Never Seen Such Good Things” are just too jarring to take seriously.

Takeaway: Mala sports newer electro/dance/pop influences that seem to fit into the current trend of reverb heavy dance music. These tracks like “Your Fine Petting Duck” don’t sit perfectly with the rest of the album, but we can’t be surprised Banhart has gone in this direction, for Devendra’s ability to blend genres with his musical niche is ever present. Mala is Devendra’s best album since 2005’s Cripple Crow and for that, we are thankful for Devendra, who is still quite the freak of folks.

~Sam Heller

Pickwick – Can’t Talk Medicine

Top Tracks:
“Halls of Columbia”
“The Round”
“Lady Luck” feat. Sharon Van Etten
“Window Sill”

Album Highlights: The revamping of soul and R&B in rock music has taken the industry by storm, and the Seattle band Pickwick have added another layer of freshness to this cross-pollinated genre. These guys spent a great amount of time on their debut feature album, which is evident by their blistering production coupled with incredibly dynamic song writing, not to mention the musicianship. Opener “Halls of Columbia” fully demonstrates the power of Galen Disston’s vocals, which permeates their sound track after track. Use of the vibraphone on tracks like “Well, Well” is a rare, pleasant surprise in contemporary rock these days, and genuinely adds a warm, thick sound.

Album Lowlight: Honestly, the amount of time it took to release this effort is the only gripe I have with Can’t Talk Medicine, though a great portion of these songs have been released on EPs and singles over the past couple of years.

Takeaway: Can’t Talk Medicine is an album that truly has appeal to a wide range of listeners, and it beckons listen after listen as the songs have great depth. Melding of musical styles is always exciting, yet not always successful, so when it’s knocked out of the park, it becomes quite a thrill. One can’t help but look forward to pumping this album at warm summer BBQs and long nights ahead.

~Kevin Quandt

READ KEVIN’S LIVE MUSIC REVIEW OF THE PICKWICK SHOW LAST FRIDAY IN SF.

Filed Under: New Music, New Music Tuesday Tagged With: Biffy Clyro, David Bowie, Devendra Banhart, New Music, Pickwick

New Music Tuesday: Jimi Hendrix • How to Destroy Angels • The Men • Youth Lagoon • Rhye • The Cave Singers • Blue Hawaii

March 5, 2013 by The Bam Team Leave a Comment

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Jimi Hendrix – People, Hell and Angels

Top Tracks:
“Earth Blues”
“Hear My Train a Coming”
“Somewhere”

Album Highlights: The solo in “Hear My Train a Coming” is quintessential Jimim and it bridges the gap between beginning and end of the song perfectly. This early take on the classic song is quite powerful, and the solo alone deserves a listen. “Somewhere” has Hendrix showcasing his amazing Wah Wah pedal skills, and his stream of conscious style singing makes this song come to life. The album opener “Earth Blues” is probably the most complete song with great lyrics and classic Jimi riffs throughout.

Album Lowlight: I thought the album lost its place during “Let Me Move You,” even though the great Lonnie Youngblood was featured on Saxophone. The track seems out of place on the record, and the same could be said for “Mojo Man.” Also, the album ended with a whimper by picking “Villanova Junction Blues” as the outro song, and it isn’t even two minutes long. While I can’t exactly blame Jimi for this choice, I would prefer to hear a blistering solo to end the record.

Takeaway: It’s just great to hear Jimi Hendrix play guitar, and for that I am grateful this album has been released so far after his untimely death. It definitely helps us see which direction Jimi was going right after the Experience broke up. Most of the recordings are from sessions he played with Billy Cox and Buddy Miles, the rhythm section from the Band Of Gypsies. Hendrix was straying from his psychedelic era sounds with the material that ended up on People, Hell and Angels, leaning more toward bluesy rock from Hendrix’s early years.

~Pete Mauch

How to Destroy Angels – Welcome Oblivion

Top Tracks:
“Keep it Together”
“Ice Age”
“The Loop Closes”

Album Highlights: Welcome Oblivion is a brilliant experiment in collaboration between Trent Reznor and his wife, Mariqueen Maandig (formerly of West Indian Girl), also featuring his usual suspects, Atticus Ross and Rob Sheridan. To take the industrial tension of Nine Inch Nails and have the vocals fronted by the sultry and angelic Maandig is a winning formula. Tracks like “Ice Age” turn down the synths and simply pair staccato strings with soft vocals, throwing the listener for a loop compared to previous tracks. Recently, Reznor has become the master of keeping his fans on their feet, this recently demonstrated by the quick and startling revamping of Nails, all before he’s even debuted How to Dress Angels on stage. Production is heavy on the chiller side of industrial/glitch electronic music, even industrializing the sound of vocals as seen in the beginning of “Too Late, All Gone.” Not all tracks feature vocals, something Reznor is a bit fond of.

Album Lowlight: The inclusion of Mariqueen as lead singer alleviates some pressure from Trent, and it certainly shifts the overall sound and feel away from something that is wholly Nine Inch Nails. With this stated, I would have liked to hear a bit more of Reznor’s characteristic vocal style. “Keep it Together” is a prime example of Trent augmenting Mariqueen’s steamy female vocals, and this would have been welcomed on more tracks.

Takeaway: Fans of Nine Inch Nails will enjoy this release, furthermore listeners who may have been scared away by the likes of the brutal side of NIN (see “Closer”) will feel it is more palpable, especially to female listeners. Reznor is not a musician who takes much down time, and he has kept himself busy since temporarily dissolving NIN a few years back. This project is not brand new, but has now fully taken flight with the impending live debut coupled with a debut LP. Welcome Oblivion is a satisfying listen overall, taking a great leap in con-temporizing the brilliant industrial sound Trent Reznor and his cohorts have polished over multiple decades.

~Kevin Quandt

The Men – New Moon

Top Tracks:
“The Seeds”
“Electric”
“I See One”

Album Highlights: New Moon is a different album than previous, likely pointing to maturity or fear of being lost in the ever increasing bands that sound akin. It leans more on the poppier side than the noise side of rock, especially when viewed compared to previous releases. Songs like “The Seeds” are a fun romp in folk rock that is becoming evermore popular, as demonstrated by Father John Misty and the likes. “I Saw Her Face” features a heavy, lo-fi guitar lead full of drudge and weight to accompany the lulled-out drumbeat and bass. “Bird Song” lends itself to a more personal side that would make Crazy Horse smirk. One can almost hear old Neil play his harmonica along with ‘em.

Album Lowlight: It feels as if the track order was a total toss-up, and gives the album a lack of direction and flow that is not easy to look past. Maybe they should slow down and take some time with these efforts, as this is the fourth release in four years.

Takeaway: An enjoyable spin on the current state of modern rock, full of hooks and unique tracks placed side by side in no distinguishable rhyme or reason. It’s lighter on the tinges of punk that these New Yorkers have been somewhat known for, but there is a sound for just about everyone on New Moon.

~Kevin Quandt

Youth Lagoon – Wondrous Bughouse

Top Tracks:
“Mute”
“Dropla”
“Raspberry Cane”

Album Highlights: Trevor Powers, the boy genius behind Youth Lagoon, has created a sequel to 2011’s Year in Hibernation that continues the dreamy low-fidelity indie rock and succeeds in many spots. “Mute” sounds clear and cheery after the opening track “Through Mind and Back,” and it is the best track on the long player. It starts with a Bradford Cox-like wandering space into, but when the track transitions to it’s second phase dominated by repetitious keyboard strokes and Star Wars destroyer swoosh-byes as part of the conceptual build, the song begins to fly. “The Bath” and “Third Dystopia” are also stand-out tracks.

Album Lowlight: Overall, Wondrous Bughouse could be viewed as a soundtrack to a sinister clown carnival, and only rarely succeeds (“Raspberry Cane”) while looking at the record through this prism. Upon repeat listens, Youth Lagoon’s newest effort is more appropriately seen as a collection of tripped out lullabies. But what holds this record back from greatness is that it feels like an exercise in seeing how many carnival sounds Powers could layer on top of each other while still creating likable pop songs. Creating this sound aesthetic is a tightrope walk, and it often works. It does not work with “Attic Doctor,” “Sleep Paralysis” & “Daisyphobia,” and these tracks push the “trippy lullaby” theme to the edge of the listener threshold.

Takeaway: The most joyous thing Powers established with The Year of Hibernation was a nuanced song structure. Most tracks thrived on introspective, exploratory introductions that thrived on building to a second-half sonic payoff. And it is the second-half building in tracks like “Afternoon” that smacked you out of your wondrous state, creating a contrast that is goose-bump inducing. Overall, this quality is less present in Wondrous Bughouse. However, the record is a grower, one where the nuances present themselves more and more, and most tracks subsequently get better with each listen.

~Mike Frash

Rhye – Woman

Top Tracks:
“The Fall”
“Open”
“3 Days”

Album Highlights: The highly anticipated debut album from Rhye, the producer duo Robin Braun and Mike Milosh, is an infectious, soulful, electro-R&B album. Women is highly sensual; this album is perfect for a late night romance or a long drive in the middle of the night. It’s upbeat enough to keep your head bobbing, but mellow enough to fall asleep to. And I say “fall asleep to” in the most endearing way possible.

The vocals are the true highlight of this album. Milosh and Braun’s voices work together in perfect venereal harmony that keeps the listener longing for more.

Album Lowlight: I’m nitpicking here, but I simply want more from Rhye. I can’t wait to see how their sound develops with future material, and I’ll be spinning this record for a while.

Takeaway: Woman has an incredibly developed sound that mixes elements of minimalist electronic with a orchestral components, highlighted by the incredible vocal performance. The album is extremely well produced and mature. For a debut album, it is a sensational effort. Dim the lights, open a bottle of wine and enjoy this album.

~Kevin Raos

The Cave Singers – Naomi

Top Tracks:
“Have to Pretend”
“Shine”
“Northern Lights”

Album Highlights: The Cave Singers present a lighter, spring time soundtrack on their 4th album Naomi. The addition of Morgan Henderson on bass/flute (Fleet Foxes, Blood Brothers) and producer Phil Ex (Fleet Foxes, The Shins, Modest Mouse) allows the northwestern folk quartet to stick to their simple yet original and audible recipe while dabbling in some new territories. Front man Pete Quirk also sings in tune…on purpose, throughout the entire album! We can thank Ex for that suggestion.

Album Lowlight: Naomi lacks a certain flow that 2007’s Invitation Songs and 2009’s Welcome Joy possess. “Easy Way” ventures into a generic cookie cutter rock song that pushes Quirk to stressful, at times uncomfortable harmonies.

Takeaway: Fans that are looking for the same dish that The Cave Singers have been delivering will surely be satisfied. The fuller sound and additional band member definitely works in favor for the band. Still, The Cave Singers use the same, simple rifts with very little key chord progression, relying heavily on lyrical melodies. Don’t expect the same foot stomping, glass shattering sensation that “Dancing In Our Graves” delivers. This album will be great for sunny spring time mornings.

~Sam Heller

Blue Hawaii – Untogether

Top Tracks:
“Yours to Keep”
“Try to Be”
“Sweet Tooth”

Album Highlights: Divided into two separate installments, “In Two” highlight’s the dual nature of this album’s artistic influences and conception. Cowan and Preston are both able to communicate their individual spin on the track in an extended jam, mixed perfectly through electronic dance-style cohesion.

Album Lowlight: Although tight on the mixing and an impressive execution of skill, “Sierra Lift” would have been better without as much editing. Standell-Preston’s vocals are excessively staggered and nearly indecipherable due to the choppiness of the track. The effect audibly is interesting, but becomes exhausting throughout the song’s duration, and album in general.

Takeaway: “Try to Be” is the best representation of what Untogether is aiming to achieve both in sound quality and songwriting. Blue Hawaii, a duo of Raphaelle Standell-Preston and Alexander Cowan, recorded Untogether with the intention to explore deviating genres and the audible patterns that lie between them. “Try to Be” showcases the natural symbiosis of their co-writing capabilities.

~Molly Kish

Filed Under: New Music, New Music Tuesday Tagged With: Blue Hawaii, How to Destroy Angels, Jimi Hendrix, New Music, Rhye, The Cave Singers, The Men, Youth Lagoon

New Music Tuesday: Atoms for Peace • Kavinsky • Johnny Marr • Gold Fields • Autre Ne Veut

February 26, 2013 by The Bam Team 5 Comments

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Atoms for Peace – AMOK

Top Tracks:
“Default”
“Judge, Jury and Executioner”
“Reverse Running”

Album Highlights: Yep, this is a good one, but let’s be honest, did anyone expect anything less than great from Thom Yorke and his All-Star cast? From the first few notes, you get a general picture of how the next 40 minutes are going to sound, only it grows and expands more and more as the tracks develop. It’s been evident that Yorke has become fond of progressive electronic music, as demonstrated on King of Limbs, and on AMOK, he utilizes the knowledge that he has gained from acts such as Flying Lotus, Pearson Sound and Four Tet, to name a few. Yorke, Flea, Nigel Godrich, Joey Waronker and Mauro Refosco sublimely build tracks from a simple point, then expand and grow them from there to rapturous peaks of rhythm and synth coupled with Yorke’s unmistakable vocals. Waronker and Refosco elevate drumming and rhythm to high plateaus, blending the line between man and machine.

Album Lowlight: Fans who are keen for Yorke to return to early era Radiohead guitar anthems will have to keep on waiting. While this album can be viewed as really just the sequel to Eraser, it solidifies the personnel who were wrangled once Thom wanted to bring it on tour originally in 2010; basically, there are no surprises. Would be kind of cool to hear Flea use his thumb, too.

Takeaway: Simply put, this is another string in the masterful tapestry that Yorke has woven for over two decades. The complexity of the rhythms, while still being palpable overall to the masses, is refreshing while leaving room for more depth to be explored on the stage. To know that more people will open up to the possibilities that electronic music production can bring is also a comforting notion. The evolution of sound from Eraser to Limbs and now AMOK comes in perfect step, and one can only wonder what Thom Yorke has up his sleeve next.

~Kevin Quandt

Kavinsky – Outrun

Top Tracks:
“ProtoVision”
“Suburbia”
“Blizzard”

Album Highlights: While Outrun marks Kavinsky’s first full-length album, it contains a couple hits that make the record seem familiar. While Kavinsky has put out three EPs already, “Testarossa Autodrive” was heard on loop in Grand Theft Auto IV. And most people know Kavinsky, or Vincent Belorgey, as the creator of the most memorable part of the Drive soundtrack with “Nightcall.” The first half of Outrun highlights new material, and “ProtoVision” jumps out as the best “new” track on the record. It instantly grabs you, to the point where you feel like you’ve heard it on the Drive soundtrack or in Grand Theft Auto…

Tracks like “Suburbia,” which features Havoc on the mic, and to a lessor extent “First Blood” with Tyson, hint at where Kavinsky is likely heading in his career; Kavinsky should be making tailor-made beats for Emcees. “Suburbia” makes the vocal-less tracks feel a bit empty by comparison.

Album Lowlight: The biggest drawback with Kavinsky is that his tracks are built on the concept of hooky repetition, to the point that you’ve heard all there is to hear within a minute to ninety seconds. “Deadcruiser” and “Grand Canyon” are a couple yawners that repeat to Nowheresville.

Takeaway: Kavinsky’s mellowed, crunchy house beats are similar to the repetitive sounds Justice has made famous by mixing a modulated back-beat with synthetic overlays. Justice is popular because of where they take songs, and how the beats evolve. The french duo play with expectations, while Kavinsky seems pretty content with two tempos, fast and slow.

That’s how Outrun feels at least. It contains a handful of entertaining dance jams, most of which have been heard before. The listenable shelf-life for a Kavinsky music session isn’t long due to repetition that never dares to go anywhere or evolve.

~Mike Frash

Johnny Marr – The Messenger

Top Tracks:
“The Right Thing Right”
“Sun and Moon”
“New Town Velocity”

Album Highlights: The former Smiths guitarist and writer puts another notch in his musical belt with The Messenger, a pleasant piece of 21st century Brit-rock. Having left behind his backing band the Healers behind on this effort, it’s being called Marr’s solo debut. The guitar work is undeniably Marr, and beckons the brighter side of recent Brit-rock such as Doves. The pace of the album is pretty constant till you reach “Sun and Moon,” which makes way for some howling and harder strumming coupled with a faster beat and a more noticeable use of synths.

Album Lowlight: Though fans of Brit-rock may not find this album displeasing, listeners with a different knack for rock and roll may find it monotonous and stale. There is a lack of freshness in the tracks, proving that Marr may need a co-captain at all times, like Moz in the Smiths or Bernard Summer while in Electronic, in order to be the most effective.

Takeaway: Marr has been this kind of wondering minstrel of music since his departure from the Smiths in the late 80s, and on this album we see him sketch out an identity of what he is really all about. There are some elements which make this album a critical flop, but can be overlooked to define this release as the whole sound of a solo Johnny Marr. Overall, it’s a pleasant listen, but is going to leave most listeners not thrilled. I’m curious to what his next effort will be.

~Kevin Quandt

Gold Fields – Black Sun

Top Tracks:
“The Woods”
“Happy Boy”
“Treehouse”

Album Highlights: “The Woods,” the most energetic track on the album, breaks away from the standard structure and BPM backbone the band relies heavily upon throughout the majority of their full length. The samba inspired drumbeat hits hard from the jump-off and remains consistent, whilst interspersed between cryptic lyrics and Gold Fields’ attempt at wolf howls. A fun track, this will probably be a live show highlight and is the best representation of the type of EDM-influenced pop emerging from the Australian scene currently.

Album Lowlight: Had “Ice” been a minute less in length, it would have been the “takeaway” track of the album. It’s structure leads you to believe that there will be some type of worthwhile climax, but it falls short on delivering anything but breathy layered vocals and a change in frets. It’s a good effort, but ultimately just left me craving a piece of Dentine Ice: “nothing’s cooler than…”

Takeaway: “Happy Boy” is a stand out track for it’s diversion from the rest of the material on Gold Fields’ debut album. Although a bit monotonous lyrically and lacking in any type of groundbreaking musical innovations, the band achieves a classic groove through funk quint essentials. This track is a nice change of pace to their somewhat predictable material.

~Molly Kish

Autre Ne Veut – Anxiety

Top Tracks:
“Play by Play”
“Counting”
“Gonna Die”

Album Highlights: Arthur Ashin, or Autre Ne Veut, has crafted a modern R&B gem with his second LP Anxiety. The songwriting and super-sexy falsetto delivery of the lyrics wreak of authenticy, and Ashin’s Vocals shine brightly over a new wave-influenced production. Ashin’s use of repetition works, especially over the LP’s bookends “Play by Play” and “World War.” Both songs allow for repetitious crooning: “I just called you up to get that play by play” and “No way you’re gonna be my baby.” “Counting” is a hypnotic hit-in-waiting; it is reminiscent of some of the best parts of Yeasayer, How to Dress Well and Passion Pit, yet it’s fresh and addictive upon first listen.

Album Lowlight: “Ego Free Sex Free” would have been just fine without the Alvin and the Chipmunk vocal modulation. That track, placed next to “A Lie,” provides a brief lull.

Takeaway: Anxiety is a sexy record, and it successfully melds an indie-rock mentality, new wave tinged instrumentation and R&B vocals to break new ground. The lyrics and vocal delivery are full of heartache and passionate in-the-moment urgency, often in powerful climatic fashion. Hyper-synthesized background vocals are frequently used for emphasis and as a tool to build emotion at critical points, and the overproduction skillfully enhances the end product. Ashin provides ecstatic moments, one after the other, guided by syncopated electronic drum beats colliding with harmonious synth beds.

Autre Ne Veux could tour with How to Dress Well or Miguel, showing Ashin’s potential audience range going forward.

~Mike Frash

Filed Under: New Music, New Music Tuesday Tagged With: Atoms for Peace, Autre Ne Veut, Gold Fields, Johnny Marr, Kavinsky, New Music

New Music Tuesday: Nick Cave and the Bad Seeds • Atlas Genius • STRFKR • Beach Fossils • Jamie Lidell • Iceage • Mark Kozelek • Matmos

February 19, 2013 by The Bam Team Leave a Comment

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Nick Cave and the Bad Seeds – Push the Sky Away

Top Tracks:
“Higgs Boson Blues”
“We No Who U R”
“Waters Edge”

Album Highlights: Nick Cave sets his dark tone right away with the haunting opener “We No Who U R.” The song, and really the whole album has very little guitar work, but instead focuses on percussion, violin, and Caves’ uncanny lyrics. In “Higgs Boson Blues,” Cave sings about how “Miley Cyrus floats in a swimming pool in Toluca Lake”, and there are plenty of gems like that throughout the album.

Album Lowlight: Nick Cave was definitely not making a rock ‘n’ roll album this time around, and that’s fine, but it barely changes tempo and didn’t captivate me until the second to last song “Higgs Boson Blues.”

Takeaway: One of Caves’ main themes is water, and the song “Mermaids” gives a sense of the whole album in one track. It references many different types of water and captures the overall feel of love and despair between a man and this mermaid. This is a borderline concept album that is very dark and lyric-heavy. This record would play nicely with headphones on in a dark room, but I wouldn’t play this on a sunny Saturday.

~Pete Mauch

Atlas Genius – When It Was Now

Top Tracks:
“Back Seat”
“Trojans”
“Symptoms”

Album Highlights: It is no surprise that “Trojans” would be the lead single of the album, as Atlas Genius has impeccably crafted a pop gem. A subtly sexy radio friendly hit, the song is infectious and will have you singing and clapping along from first listen. As a bona fide plan B, the track is strong enough to keep Atlas Genius relevant on the one-hit wonder circuit at least for years to come. Although, “Back Seat” will most likely prevent Atlas Genius from the one and done career.

Album Lowlight: An awkward departure from the New Wave sound of the rest of the album, the acoustic guitar-driven track “Through the Glass” gets muffled amongst the excess production as the band tries to blend the song’s elements into cohesion. The lyrical structure is off beat, trying to figure out its place within the composition’s confusion, and the meaning is lost amongst the noise.

Takeaway: “When It Was Now” is most exemplary of what Atlas Genius is capable of creating. The album definitely came off as a debut, full of potential stabs at mainstream airplay. The talent is there, and “When It Was Now” best dictates their strongest songwriting technique, and the direction their sophomore effort will most likely head toward.

~Molly Kish

STRFKR – Miracle Mile

Top Tracks:
“While I’m Alive”
“I Don’t Want to See”
”Leave It All Behind”

Album Highlights: STRFKR gets funky on its opening track “While I’m Alive”. Still tying in their signature Casio dance beats, they throw it back a couple generations with thumping bass lines, harmonizing falsettos and disco laden guitar riffs. Branching out from their standard indie rock formula, the boys embrace several different approaches to create a successful pop album. “While I’m Alive” opens their most ambitious effort to date with a pulsating hit ready for any dance floor.

Album Lowlight: Except for the lyrical mention of the album’s title, “Fortune’s Fool” serves little to no significance on the album. The track isn’t cohesive with the album’s composition or STRFKR’s overall sound. Furthermore, it is an awkward track that causes a division between the album’s experimental first half and more pop-centric second act.

Takeaway: Effortlessly segueing out of “Golden Light”, “Nite Rite” keeps you lingering for an entertaining seven-minute journey to the close out the album. More of prolonged jam than the typical STRFKR crafted track, the band plays with a mélange of audio effects accompanying a steady bass line, drum beat and tension building breaks. The effect is a wall of sound destined to stun in the capacity of a live show.

~Molly Kish

Beach Fossils – Clash the Truth

Top Tracks:
“Careless”
“Shallow”
“Crashed Out”

Album Highlights: It’s another decent slice of shoegazing pop from Dustin Payseur and company, perfect for a rainy day inside or a sunny drive down the coast. Personnel changes marred the band in the past year, so the fact that Payseur soldiered on shows great dedication to this act, even while it splintered. Songs like “Burn You Down” demonstrate their knack for a precious sound that one can easily get lost in.

The inclusion of singer Kazu Makino on the song “Vertigo” is a pleasant surprise, as the absence of Zachary Cole Smith displays the lack of melody that was a key part of this group in previous years.

Album Lowlight: Honestly, for the amount of time taken since the release of their heralded self-titled release some three years ago, this album falls a little flat. Maybe it was that many other similar bands like Wild Nothing and Real Estate released solid sophomore efforts well before Beach Fossils did. Maybe the departure of Zachary Cole Smith to form DIIV put a crutch in the writing and recording process of Beach Fossils.

Takeaway:Fans of this band will enjoy this listen, but likely still go to previous releases more often than this effort. Sometimes great stretches of time between recording can muddle the writing process, and this may be the case for Clash the Truth.

~Kevin Quandt

Iceage – You’re Nothing

Top Tracks:
“Ecstacy”
“Morals”
“Wounded Hearts”

Album Highlights: The follow-up to 2011’s New Brigade does not disappoint, full of blistering angst-ridden Danish post-punk in all it’s youthful glory. Songs like “Everything Drifts” showcase a more musical focus with clearer sounding vocals by Elias Rønnenfelt and more in depth guitar chords. The blistering thrash of their debut has made way for a fuller, dare I say more mature sound overall. There is also a sonic richness which is more prevalent on their Matador label debut.

Lyrics have not deviated much from the societal gloom these young-ins have demonstrated on “Ecstasy”: “But bliss is momentary anyhow / Yet worth living for — take me now”.

Album Lowlights: Fans who prefer the more thrashed-out side of this band may grumble at it taking a more commercial, emotive direction, comparatively. Yes, this album comes across as less detached than the previous, but it’s with this growth that the excitement is bred. You’re Nothing is still a rough-edged album, but this new depth will please many as they make their way to comparisons of Black Flag and Fugazi.

Takeaway: How awesome is it that a bunch of Danish teenagers are the face and sound of some of the more progressive punk and hardcore in the past few years? And with their first release on Matador, they’re showing that with a few extra resources, they can bring their game to the next level while not compromising their integrity.

~Kevin Quandt

Jamie Lidell – Jamie Lidell

Top Tracks:
“Do Yourself a Faver”
“Blaming Something”
“So Cold”

Album Highlights: Jamie Lidell’s self-titled release is funky and soulful, yet takes a couple listens to grow on you. His first album since 2010, Lidell’s 2013 offering has an interesting flair. Most of this record sounds like a 21st century funk-infused disco that Prince commissioned to write for the Ghostbusters III soundtrack. It combines elements of 80’s R&B funk with contemporary elements of dubstep without getting too “wobbly.”

Fans of Lidell might be displeased with this departure, as electronic pop dominates over his signature soulful sound.

Album Lowlight: Jamie Lidell is at his best when he is channeling his inner Prince. (Aren’t we all?) Unfortunately, that channel breaks signal several times throughout the album, slowing down the upbeat pace of most of the songs. It’s a shame that the first single from the record is “What A Shame,” one of the weakest tracks on the record, in my opinion.

Takeaway: This album definitely has it’s moments, and for the most part, it is a very soulful funktronica album. The highlights outweigh the lowlights, which are sprinkled in just enough to cause this album to fall short of greatness.

~Kevin Raos

Mark Kozelek – Like Rats

Top Tracks:
“Free for All” by Ted Nugent
“Silly Girl” by Descendents
“Carpet Crawlers” by Genesis

Album Highlights: Mark Kozelek continues with the tone that made his 2012 record as Sun Kil Moon Among the Leaves such a success. Kozelek’s hypnotic acoustic guitar repetitions and soft baritone voice combine to strike emotional depth unmatched by most contemporary artists. And with Like Rats, Kozelek takes a diverse collection of tracks from other artists to create a record that completely transforms the songs into Kozelek’s wheelhouse — moaning sentiments of self-reflection and loathing “what could have been” feelings.

Album Lowlight: My personal lowlight is just realizing I missed Kozelek on Sunday evening at Great American Music Hall in San Francisco by one day, but seriously, this guy can do no wrong as far as I’m concerned. His songs grow on you easily if you let them, and even the dark cover of “I Killed Mommy” by Dayglo Abortions works well enough, assuming you like tales of killing your family members.

Takeaway: Mark Kozelek, the prodigious singer songwriter also known as Sun Kil Moon, has embarked on a record featuring covers from other artists. The attempts at covers are wide-ranging and mostly successful; how many singer-songwriters could nail covers by Ted Nugent, Descendents and Genesis in one album? It’s worth a listen or two, but it’s hard to give Kozelek full credit since he is such an accomplished songwriter.

~Mike Frash

Matmos – The Marriage of True Mind

Top Tracks:
“Tunnel”
“Mental Radio”
“Teen Paranormal Romance”

Album Highlights: Electronic duo Matmos run the gamut of music genres with The Marriage of True Mind, and it somehow does it successfully without any obvious unified theme, other than vocalizing its love of “Triangles.” This record has influences in deep house music, jazz, blues, space glitch and everything in between. “Tunnel” builds tension with a growing chorus of bees and alarm sounds — and it starts as a jungle-influenced world music track but progresses to spoken word over didgeridoo that builds to a cacophony of sound, ultimately breaking to an outro release that finishes with a hacking-bong rip cough. It’s a busy track and record, but triumphs like “Tunnel” make this LP addictive.

Album Lowlight: Attempts at Amon Tobin-like ambient space jams in “Ross Transcript” put forth a good effort but work better as a transition as opposed to a listenable song.

Takeaway: The Marriage of True Mind is a crazy blast of noise mixtures. It is experimental in nature and not beholden to any one sound aesthetic. It feels like one long jam, as if the idea of making individual songs didn’t cross the creator’s minds. It works as a cinematic soundtrack, and it is fun to see Matmos toy with genre-mixing. This LP’s obsession with the triangle, combined with alt-J’s geometric dogmatic worship of the shape, shows that triangles are so hot right now.

Matmos is not afraid to fuck with any sound, and the record contrasts light and dark tones, as well as mellow beats and intense builds.

~Mike Frash

Filed Under: New Music, New Music Tuesday Tagged With: Atlas Genius, Beach Fossils, Iceage, Jamie Lidell, Mark Kozelek, Matmos, New Music, Nick Cave and the Bad Seeds, STRFKR

New Music Tuesday: FOALS • Darwin Deez • Veronica Falls • The Stone Foxes • The Little Ones • K-X-P

February 12, 2013 by The Bam Team Leave a Comment

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

FOALS – Holy Fire

Top Tracks:
“Inhaler”
“Milk and Black Spiders”
“Providence”

Album Highlights: Any fan of FOALS knows that the one thing to expect when they a release a new album is not to expect anything. Each release seems to have the Oxford five-piece charting new waters and hitting the shuffle button on their sound with intricate, emotional and layered tracks. The band’s newest release Holy Fire is no different, as from the start, it takes the listener on a journey characterized by haunting vocals, staccato guitar loops and heavy breakdowns over the course of 11 tracks.

Holy Fire kicks off with the instrumental “Prelude”, which gives way to “Inhaler”, a heavier, more driving rock song than we are used to from the band. The song was released as a teaser in late 2012 and definitely stands out as one of the marquee tracks on the album. “Inhaler” is sure to be a crowd-pleaser during both club and festival sets as it exudes energy. The album then backs off a bit, easing up on the throttle to bring us tracks closer to what fans became accustomed to in Antidotes and Total Life Forever. Standout tracks and personal favorites are “Milk and Black Spiders” and “Providence”, a track closer to “Inhaler” than any of the others. Both songs showcase both the frenetic, yet intricate sound fans have become accustom to with emerging sounds and styles the band seems to be developing.

Album Lowlight: The last two songs of the album are much more subdued than all the previous tracks, perhaps to keep the feel of a cohesive arc consistent through the album, but the abrupt drop-off in tempo and energy after a heavy, complex song like “Providence” takes away a bit from the album. The dreamy, mellow end may eventually grow on me, but at first listen, it left me wanting more.

Takeaway: Overall, Holy Fire is a great album and keeps FOALS in the forefront of bands that are willing to experiment and push the envelope with their sound and what listeners have come to expect from them. Having seen them in the past, I’m most interested to see how this new selection of songs will translate into one of their always entertaining live shows, especially songs like “Providence”. FOALS have delivered again by breaking expectations and crafting thoughtful, complex and meaningful songs that keep the listener guessing what comes next.

~Sean Little

Darwin Deez – Songs for Imaginative People

Top Tracks:
“Redshift”
“(800) HUMAN”
“Free (The Editorial Me)”

Album Highlights: Darwin Deez specializes in glitch-pop that is reminiscent of The Postal Service, but his themes of humanity versus technology juxtapose with purpose throughout Songs for Imaginative People. The first track “(800) HUMAN” sets this tone, and Deez’s relate-able lyrics and voice contrast well with the digitized sounds that dominate the instrumentals.

Album Lowlight: There are moments that are too “spoken word,” even though the back and forth between talking and singing is Deez’s central style. A good example of this is with the track “No Love,” which is filled with spoken word lyrics.

Takeaway: Darwin Deez is at his best when emulating The Postal Service with quick tempo changes and Nintendo glitch sounds. The record gets better with each listen, and it ends in a particularly strong fashion – “Redshift” and “Free (The Editorial Me)” are two of the best tracks. This is a cohesive LP that deserves at least a couple spins.

~Mike Frash

Veronica Falls – Waiting for Something to Happen

Top Tracks:
“If You Still Want Me”
“My Heart Beats”
“Falling Out”

Album Highlights: “If You Still Want Me” is duet perfection. Roxanne Clifford and James Hoare’s vocal are beautifully cohesive and complimentary. The track showcases their individual command over their range and pitch. The track signifies near flawless ingenuity as pop composers.

Album Lowlight: “Everybody’s Changing” lacks creativity lyrically and musically. It sounds as though it could have been a late addition or suggestion from the record company for a radio friendly single. The rest of the album is filled with tracks exemplifying the band’s grasp of their genre and songwriting skills. This track compromises both.

Takeaway: “Shooting Star” is like an audible heroin trip. It’s both the least enigmatic and most encompassing track on the album. Reminiscent of 1960’s art rock, the simplicity of the song’s structure and melancholy drone is entrancing and difficult to not be consumed by.

~Molly Kish

The Stone Foxes – Small Fires

Top Tracks:
“Ulysses Jones”
“Small Fires”
“Jump in the Water”

Album Highlights:In the wake of Southern-tinged blues rock making its way to the masses via The Black Keys and Alabama Shakes, hTe Stone Foxes have sculpted the West’s answer to this infectious formula. Small Fires starts with a double dose of swamp-drenched soul rock before moving into a more straight ahead indie blues rock. This album was produced by Doug Boehm, best known for his work with Dr. Dog and Girls, and those groups’ sonic sentiment is noticeable. Similar to Howlin Rain’s Russian Winds, one can really hear the power and energy these guys bring to the table, as well as to the live stage.

Album Lowlight: Multipart harmonies would give a greater depth to some of the songs. We can expect more bands trying this sound out based upon pop music’s current fondness for the Southern blues rock sound. Luckily, these guys have been working at it for near a decade. Also, the track order doesn’t do the varying sounds much justice.

Takeaway: Fans of Dr. Dog and similar acts will love this album, hands down. Furthermore, Small Fires is a truly great slice of rock and roll that is very palatable and enjoyable. These guys have been going hard on the road for many years, and this album reflects their live show, similar to the rise of My Morning Jacket and their breakthrough album Z. In the coming months, these lads will headline — yes, HEADLINE — The Fillmore in San Francisco, a clear sign that this group is on the up and up.

~Kevin Quandt

WANNA SEE FOR YOURSELF?

The Stone Foxes perform for free at Amoeba San Francisco on Tuesday, February 12th at 6 p.m. PT. They will also perform for free at The New Parish on Wednesday, February 13th.

The Little Ones – The Dawn Sang Along

Top Tracks:
“Super Bros.”
“Catch the Movement”
“Boy on Wheels”

Album Highlights: Southern California pop rock band The Little Ones return with its first full-length since Morning Tide, delivering more sun-soaked, 60’s nostalgic pop rock that brightens up the day. The Little Ones have long garnered comparisons to The Beach Boys, and with The Dawn Sang Along it becomes apparent as layered, harmonic vocals combine with horns, tambourines, and other assorted instruments throughout the album. These are hallmarks that defined the Beach Boys’ (and other 60s pop acts) sound and is borrowed by The Little Ones. Their second full-length straddles the line between 60s and more modern pop, delivering the perfect antidote to a rainy day.

Standout tracks are “Super Bros.”, “Catch the Movement” and “Boy on Wheels.” “Boy on Wheels” is my personal favorite, as the sound seems much more unique to the band and its style with varying effects, vocals and rhythms that build the song up and left me tapping my foot to the beat long after the song had ended.

Album Lowlight: There wasn’t a low point in the album for me with any one song, but I wanted to see the band have a few more songs like “Boy on Wheels” or “Catch the Movement,” as they showcased the band’s own voice and unique sound without borrowing too much inspiration from 60’s pop bands.

Takeaway: I really enjoyed this album, and I’m not one that generally enjoys pop. It’s sunny and catchy the whole way through and shows a distinct style and maturity gained since their last full-length. If you are in need of some audio sunshine, pick up The Dawn Sang Along and give it a listen. You’ll be transported to a brighter, sunnier place inside the comfort of your headphones.

~Sean Little

K-X-P – II

Top Tracks:
“Magnetic North”
“Easy (Infinity Waits)”
“Flags and Crosses”

Album highlights, album lowlight and takeaway: K-X-P’s new album II is an interstellar adventure of Kubrickian proportions.

Imagine you are being propelled into space on an interplanetary rocket (“Melody”). Your spacecraft is flung from the gravitational pull of one planet to the next, like a monkey swinging from vine to vine (“Staring at the Moon”). You encounter eight-bit asteroids (“Magnetic North”) and blast them with your particle disintegrators, clearing a path into deep space.

As you drift deeper into space (“Ekmviv”) you lose track of time and space, and all perception becomes distorted (“In the Valley”). Suspended in space, surrounded by a mechanical drone, your senses rejuvenate just as your craft comes to rest on a mysterious planet (“Tears [Extended Interlude]”).

As you regain consciousness and perception of your surroundings, you realize your spacecraft is surrounded by large amorphous aliens. Starring at this strange earthling, the aliens wonder what to do with you and deliberate to decide your fate. During this deliberation a deus ex machina occurs when a massive wave of electromagnetic radiation strikes the planet’s atmosphere, triggering a paralyzing vibration (“Flags and Crosses”). This vibration is so intense your spacecraft is jolted free from the clutches of the planet’s gravitational pull, and you float skyward, uncontested by the enfeebled aliens (“Reel Ghosts”).

You are able to gain control of the ship and navigate through the electromagnetic assault, reaching safety in the quiescent cushion of space (“Easy [Infinity Waits]”).

You are home free. You light a cigarette and think about what just happened as you cruise back to the friendly confines of Earth (“Dark Satellite”).

~Kevin Raos

Filed Under: New Music, New Music Tuesday Tagged With: Darwin Deez, FOALS, K-X-P, New Music, The Little Ones, The Stone Foxes, Veronica Falls

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