Muzik Dizcovery

Artist Spotlight: Born With Stripes

2012-02-24T20:04:00.000-05:00

At a risk of sounding hyperbolic, it really is a long time since I've heard a song that's excited me as much as Born With Stripes' solitary tune 'You Stole The Laces From My Shoes.' It's not the song of the year, or even the month for that matter, but what it does succeed in is packing an optimal dose of unequivocal joy into two blissful minutes of pure guitar pop perfection. We're deep into February - by my reckoning the coldest, most miserable month of the entire year - and yet this sublime cut still managed to fill me not only with excitement ahead of the impending summer, but also the immense sense of optimism that comes with it.

Having grown up in their native Nottinghamshire, childhood friends Dan Sheen and James Hinks later relocated to Leeds, where they formed the band at the tail end of 2010. Starting out under the the name Rona Pano, the change in moniker seems to have come hand-in-hand with a greater commitment to the cause, with the pair having spent much of the past two months writing and recording. If 'You Stole...' is anything to go by, the persistence will be most worthwhile. Although not entirely dissimilar from the UK's current buzz bands such as The Vaccines, Born With Stripes seem to have their hearts set firmly in the nineties, with shades The Lemonheads and Teenage Fanclub appearing as well as hints of current grunge-pop flag bearers Yuck and Cloud Nothings (though truth be told this trumps anything that either of them have ever come out with). It's not the most original sound, but the irresistible hooks alone prove that there's a wealth of songwriting talent at their disposal, and if there's more where that came from, a big future could perceivably lie in wait.

Listen to and download 'You Stole The Laces From My Shoes' here, and be sure to "like" their Facebook page for updates on their progress.

Album Review: Maker - Mirrors

2012-02-24T12:29:00.000-05:00

Album Rating: B+

If there's one thing worth taking away from Mirrors, the first full-length from Springfield, MA locals Maker, it's the young band's already obvious mastery of their craft and sound. Every track found here resonates with the confidence and purpose of a band that's found their niche in the modern pop-punk scene, with the album as a whole easily meeting and exceeding the present-day standard. Taking cues from tour-buddies in Crucial Dudes and The Story So Far, as well as drawing some obvious influence from now-defunct Jawbreaker and even early Brand New, Maker combine the vitality of passion-driven songwriting with the accessibility of beefed-up choruses, driving their product home with the familiarity and modesty of your favorite local band.

But making a splash on the scene isn't about following footsteps or blending in with your peers; it demands ingenuity and the heart to match it. In these regards, Maker certainly show promise yet leave a good deal of room for improvement, fashioning tracks that ring loud not only of their own ideas, but with comparable ethos to that of the multitudinous other bands around them. As deep as minute-long 'For Every Mistake I've Ever Made' digs in its nails, the precise merging of that pulsating drumbeat and those high-gain guitars derive just a little too much from a sound that's been tried and tried again. Still, a song like 'A Postcard I Never Sent To You' showcases the solid acoustic front of a band that can throw externalities to the wind without compromising their identity, whereas '1989' incorporates a brief post-rock interlude that's as fitting to the record as it is expressive of the fresher and more vibrant tones that the Massachusetts quintet have in mind. Both are certainly elements that one would hope to see Maker expand upon in releases to come, and ones that highlight a band with a promising sonic future.

If Maker can be commended for one last job well done on Mirrors, it would have to be their insistence on brevity. The record as a whole spans less than half an hour, with several tracks clocking in under two minutes, a subtle yet effective ploy to ensure their general potency. Within itself, Mirrors maintains a dynamic and youthful disposition, effectively avoiding the all too prevalent trend of bands that rehash and repeat the same features of their sound. All in all, Mirrors easily posits itself as a record worth delving back into 2011's diverse musical catalog for, and presents a group with a future worth our anticipation.

Stream Mirrors in its entirety over on Property of Zack HERE.

Tracklist:
1. Mirrors
2. Earthquakes
3. Tsunamis
4. For Every Mistake I've Never Made
5. 1989
6. What's In Your Head
7. A Postcard I Never Sent To You
8. 14
9. Basement Song
10. ...I've Been Wondering

Album Review: Earth - Angels of Darkness, Demons of Light II

2012-02-22T23:49:00.002-05:00

Album Rating: C+

For fans of drone, no band can beat out Earth in terms of prestige. For the past several years the band has been a defining force in the genre, creating classics such as Earth 2 and Phase 3. But after an extended (almost decade long) hiatus, Earth returned as if they'd never left. However, with this advent came a shift in sound; a subtle attraction towards a more melodic presentation. This has peaked with the band's one-two punch of Angels of Darkness, Demons of Light.

Angels of Darkness, Demons of Light I dropped almost exactly one year ago, and with it, the realization of Earth's softer, more psychedelic sound. Spacy guitar and languid bass filled the album's legthy runtime with well constructed melodies and peculiar atmospheres. For the most part, the second half of the project changes very little. The entire album sounds a tad less murky and, well, metal, but it's replaced with a more prominent cello, as well as an overall lighter tone. It's a fantastic compliment to one of last year's stranger offerings (although rather normal compared to other Earth albums), but that's where it falls short. Angels of Darkness, Demons of Light II is a fine record, but it feels merely half-formed; a smaller piece of a larger whole. Where its predecessor seemed much more sure of itself as a stand alone release, this album feels much, much weaker.

That isn't to say that what we have here is a poor release, quite the contrary. A lot of what is here is truly interesting. The solem cello featured in "A Multiplicity of Doors" sounds otherworldy, and outright beautiful. But the problem lies in how very much alike everything else sounds. Aside from the stringed instrument, the track is just like every other song--flat, meandering, and without personality. And yes, there is a great misunderstanding when it comes to this sort of music that it all should sound slightly homogenous. However, as the band's older material displays, there can be a lot of dynamics and character within the massive structures. Yet Angels of Darkness, Demons of Light II doesn't really display that.

Earth, with their combined two album project, have made a wonderful psychedelic drone suite. The two pieces are stronger together, however, as seen with the second half. But when digested as a whole, the listener is treated to one of the finest releases of it kind in some time.

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Track List:

1. Sigil of Brass
2. His Teeth Did Brightly Shine
3. Multiplicity of Doors
4. The Corascene Dog
5. The Rakehell

Album Review: Take One Car - It's Going To Be A Nice Day

2012-02-22T18:35:00.006-05:00

Album Rating: A-

Take One Car writes music that embodies power, to say it in simple terms. They're a pretty simple band from upstate New York, just four guys making music, but what they accomplish in this respect is so much more than music. The new release is a great blend of alternative, indie rock, post-hardcore, and a nice dash of post-rock, balancing some heavy guitar riffing with a good portion of mysterious ambiance, and profoundly metaphorical lyrics reverberate throughout. It's Going To Be A Nice Day is broad enough to cover genre stereotypes and appeal to many, but their sound is ultimately a concentrated, perfected blend of aural pleasure that stimulates the senses and sets emotions reeling.

There's something about the tracks that embody more power that have a certain ring to them, like "I Know Why You Went Into The Woods". Tyler Irish's voice has a special ring to it, like a Beastie Boys shout chorus, but with a lot more melody and feeling behind it, and he has a particular way of slurring each and every word together shakily, but also speaks articulately enough for the listener to understand the lyrics, at least in the gaps where it isn't lost in a wave of beautiful distortion. The intro to the song is a heavy work to die for, and it only gets better further in. The song builds up behind Irish's shouting vocals, and the melodic outro could not have been better written, ringing with sharp angst, torrid anger, and a blackened confusion as the song ends in a static, empty feedback.

Then there are songs like "Sometimes The Best Way To Die...". Perhaps it might be more calm, but it's absolute sin to decide for even a moment that this song doesn't have the same level of heart or vehemence as "I Know Why". The intro has an echoing acoustic guitar, laying down some chords, with an organ in the background, and Irish's vocals send through a reverb on steroids, to the point where his voice along sounds like a million different whispers, each trying to reach out to the listener, in a failing attempt to connect, but crashes in the wave of sound panned out by the added bassline and drums. However, three minutes in, the distortion turns on, and the peaceful repose is lost in a storm of remorse and grief, Irish screaming out and trying to keep in contact with the listener, but this song, too, ends eerily in feedback, this time a few separate tones, leaning from the right to left speaker continually, like an empty seesaw on a playground, before fading into the coupled song, "Is The Best Way To Die".

This album brought forth a lot of internal emotion for me, and the way the instrumentation hits the listener is complete perfection. The guitar tones are ever changing, and the reverb is sometimes there, and sometimes missing, but wherever it's used is meaningful and powerful, and this is very true for a lot of different aspects of the music. Take One Car wants to express a specific emotion with their music, and they express it through many different little aspects that, as a whole, come together in a marvelous wonder. Like I said before, I think It's Going To Be A Nice Day is going to appeal to a great many people, and has a lot of similarities to bands like O'Brother, Moving Mountains, Zucchini Drive, and Beware of Safety. The way that Take One Car expresses themselves on this album is admirable and beautiful, and it's impressive for an album in general, doubly so that these guys were able to release two great albums in a row.

Keep an eye out for Take One Car tour dates, too! They've had recent news releases on their site that they're doing at least an album release show (which is today, the 24th), and they should release a few different show dates soon. To keep further updated on news, you can find their site here.

You can listen to the album for free and purchase it for download on their Bandcamp.
You can also stream an alternate version of "Brim" right here on MuzikDizcovery

01) It's Going To Be A Nice Day
02) Dear Ronnie
03) I Know Why You Went Into The Woods
04) Brim
05) Patriarchs
06) The Oceansong
07) Yet Another Voyage (Adrift)
08) In The Company Of Wolves
09) So Much In Return
10) Virtue
11) Sometimes The Best Way To Die...
12) Is The Best Way To Die

Album Review: Fighting Fiction - Fighting Fiction

2012-02-22T18:16:00.001-05:00

Album Rating: B

With such a multitude of bizarre sounds and obscure genres prevalent in music nowadays, it can occasionally be refreshing to hear a band that revels in simplicity. With nay an innovative bone in their body, Fighting Fiction exemplify this approach to making music, but to this point their lack of creative expansion hasn't proved prohibitive in the slightest. They don't bother indulging in any forms of self-serving pretense or outlandish experimentation, they merely play the type of anthemic, heart-on-sleeve punk rock that they've presumably grown up enjoying, and for the most part it's a pretty great proposition for the rest of us too. Repeatedly delayed, yet no less welcome, this debut full-length provides an engrossing showcase of that back-to-basics ethic, and with a little luck could see the Brighton quartet become a big hit among those who share their ideology.

Kicking off with the feverish one-two punch of 'Amazing Grace' and 'Rock And Roll Is Dead And Its Corpse Is For Sale,' Fighting Fiction wastes no time in placing it's cards on the table, setting out in the same direct aggressive manner that initially got them noticed. Recalling the no thrills vision of The Clash, as well as the earnest everyman appeal of Frank Turner, the duo succeed no end in delivering a purposeful, and above all thrilling beginning to proceedings, and there's plenty more where they came from. The likes of 'Growing Heroes' and 'Cameraphones & Choruses,' for instance, possess similar ounces of thrust and are no less entertaining, while even slightly lesser numbers such as 'Make Yourself A Martyr' get by through sheer belligerence. It's nothing new, and it's certainly nothing flash, but the vast majority of their debut sees the band execute their trade with plenty of success.

With such limited ambitions, it's ironic that this record's finest moment is also the only point at which it shows any desire for variety. Ever since Strummer & co. opened the doors on London Calling, it's become something of a cliche for punk bands to incorporate elements of reggae into their music, but in the case of 'No Room At The Inn' the transition sounds completely natural. It's nothing earth shattering, and is by no means one of the best songs lyrically, but the confidence and apparent ease with which they pull it off is impressive nonetheless.

As you may have guessed from the tone, Fighting Fiction is a debut that's solid rather than spectacular, and while their hearts are without doubt in the right place there can be little argument that their sound has its limitations. As well as the obvious issues with diversity, something that's occasionally noticeable is a lack of any real muscle from the four-piece. One or two of these songs could do with a little fleshing out, and although that should come in time as they inevitably grow as musicians, it is for now a factor that obstructs their path towards true excellence. With this in mind, it's curious that they've chosen to omit early single 'We Will Not Forget' - arguably their strongest song, if not from a musical perspective then certainly from a songwriting one. Such cracks do unfortunately prevent this debut from being an entirely fulfilling experience, yet the prospect of future brilliance is a compelling one, and although it hasn't quite reared its head, Fighting Fiction can sleep well in the knowledge that they've given themselves a sound base from which to build.

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Tracklist

1. Amazing Grace
2. Rock And Roll Is Dead And Its Corpse Is For Sale
3. Turning Rebellion Into Money
4. Growing Pains
5. No Room At The Inn
6. For Unsung Heroes
7. Make Yourself A Martyr
8. Amsterdam
9. Cameraphones & Choruses
10. The Cost Of Loving

Interview With Jukebox The Ghost

2012-02-21T15:50:00.001-05:00

Jukebox The Ghost has been slowly gaining popularity over the past few years or so. In addition to touring with Ben Folds and Barenaked Ladies, the band also played on Letterman. They most recently wrapped up a tour with Jack's Mannequin, and are planning to release a new record in 2012. All of Jukebox The Ghost sat down with me at the penultimate date of their tour with Jack's Mannequin, and we discussed timetables for the new album, new quirks on the album, the differences between opening and headlining, the origin of donuts, and much more, which you can read below.

Alright, can you guys introduce yourselves?

Ben – Yeah, let’s start on the right.

Jesse – I’m Jesse, I play the drums.

B – I’m Ben, and I play piano and I sing.

Tommy – I’m Tommy, and I play guitar and sing.

You guys have been touring with Jack’s Mannequin for a few weeks now. How’s the tour been so far?

B – It’s a great tour, great tour. Super nice guys, amazing audiences, great crossover, just good vibes, one of our favorite tours we’ve ever done hands down.

You guys have been playing a couple of new songs every night. What’s the reaction to the new songs been so far by the crowd?

T – Well to be honest, I mean, the crowd, you know, 90 percent of these people at these shows are Jack’s Mannequin’s fans. So it’s kind of the same reaction as to all of our stuff.

B – As in they haven’t heard the songs before.

T – Yeah so they haven’t really heard our stuff before, so it’s great to play the new songs in this kind of setting ‘cause they seem to go over just as well as the old songs, if not better. So it’s exciting.

As you might have said, most of the people are mostly Jack’s Mannequin’s fans, but for your actual fans, how is it like? Is it different playing songs that the crowd might not have heard before? Do you feel like the reaction is different?

B – You know, there’s a fine balance because if you’re playing for an audience that has never heard anything, a new song is the same as a song that is five years old. But to our fans, I don’t think they have that experience because they’re so excited to hear a new song because if they’ve been seeing us, they’ve heard the other songs before, so it’s a something new. It’s new experience. But I think on both accounts I think the songs have been very well received and it’s really encouraging for the next year of touring and the new album.

You guys have been working on this new album for quite some time now. Do you guys have any new information about it? A possible release date or album title yet?

B – We have both, but we’re not saying it yet. We’ll be announcing it all soon but we’re looking at a May or June release. We’ve just finished up mixes. We’re getting our ducks in nice little rows and once they’re perfectly lined up, we’ll let everyone know about it.

You guys also worked with a string section for the first time on the new album.

How was that experience?

B – It was amazing. It was something that we’ve all wanted for a long time and thought we would have done on the last record and wish we could have done on the first record.

T – Although, wait should we spill the beans?

J – What?

T – That it’s not technically a string section.

B – It’s a string duo…

T – That are really good at overdubbing…

B – Who play over themselves. Yeah, it’s a low budget way to do it. It’s much easier, cleaner toget. Because we essentially have a chamber orchestra, if that’s what you want. It’s six violins, three violas, three cellos, sometimes more. So one person did the violins and viola, and one person did the cellos and it just sounds amazing.

Other than the string section, are there any other new quirks that we’re going to hear on the new album?

T – I personally just kind of feel like everything’s a little more focused than it used to be.

J – We did kind of venture into hand drum territory.

T – Oh yeah, that is a first. The way that I’ve sort of have been trying to explain this record to people is that the fun songs are really fun and the sad songs are really sad and everything feels like it’s hitting the bull’s eye of what it’s supposed to sound like, which is kind of a first for us. So we’re really excited about this record.

C – So do you guys currently have a favorite song out of the ones that you’re putting on the new album?

J – I do, but I don’t want to say names yet.

B – Jesse’s biased.

J – It’s easier for me because you guys write the stuff.

B – Well yeah, ask us after a year of touring and we’ll see what the staying power is of some of these songs after we’ve played them 200 times.

And you guys also recently wrapped up a headlining tour, which is one of the first times for you guys headlining bigger clubs such as, actually this one here, the 930 Club. How different is it to be headlining the bigger clubs rather than be opening them, like this tour?

B – It’s a different experience. There’s a different goal. When you’re headlining, it’s your show, it’s your audience. You’re there and the people are there for you. When you’re opening, you’re trying to win over a crowd verses when the headlining show comes in, they’re already on your side. Both are rewarding in their own unique way and both have their unique issues. Well not really issues, but pros and cons of both.

T – A balance of the two is nice because when you play a headlining show, it’s amazing and it seems more creative in a way because you get to really dig deep and play songs that you know not everybody is 100 percent gonna love. The only downside is that you don’t get the satisfaction of getting someone to go from having no idea who you are to liking you, which is really a rewarding feeling to finish an opening set and have a group full of people who are just like “Yeah I like it!”

What are your plans for the next few months after the tour is done?

B – It’s gonna be a lot of getting the album ready, doing music videos, planning touring. We’re also touring to SXSW and back and after that, it’ll just be setting everything up to have a great album release.

Do we have any timetables on when we might hear one of the recorded songs for the album?

T – Not yet.

B – Not yet. But within the next few weeks, things will start trickling out. Not the album, that won’t start trickling out, but news and maybe we’ll preview a song and that sort of thing. So keep your eye out, ‘cause it’s any minute now sort of.

Any final things you guys have to say?

B – Viva Chavez? I don’t even know what that means.

T – Really?

B – Yeah, no I do.

T – Oh, good.

J – I have something. So, on the way here, we had a discussion about donuts that lasted much longer than it should have.

B – This is better than Chavez.

J – And we learned some things about donuts. ‘Cause we passed a donut place and we were like “A donut. It’s dough, but not a nut. I don’t get it.” So we looked up the Wikipedia, and we learned that, and this is sort of like myth/whatever/kind of truth, but we learned that the “nut” referred to the donut hole. What’s known as like a munchkin or a…so that’s where the “nut” from “donut” comes from. The part that isn’t eaten.

T – And the spelling D-O-N-U-T is just an American bastardization of a common international word for dough. We learned a lot today, it’s pretty good.

J – And doughnuts were actually created in the 1800s.

T – All of them.

B – They were invented. All of them were created.

J – Especially the ones at Dunkin Donuts.

B – Donuts and Twinkies had like three golden years and we’re still riding it.

J – Donuts and Twinkies also…well that’s not very PG so...

B – You haven’t said anything so I wouldn’t know.

J – Donuts and Twinkies. Think about it.

B – Oh, ‘cause you can put the Twinkie in the donut hole.

B (to J) – Can you explain more?

T – I don’t get it Jesse.

J – They were like donuts and Twinkies, they were like…

B – No, no, no, no, no.

T – What are you trying to say about Little Debbie?!

J – That she was a whore.

B – I think that’s a good closing piece.

J – Please don’t include the whore thing.

I'd like to thank the band for taking time out of the show preparation to answer these questions and give us their expertise on the history of donuts. The band knows how to make an extremely quirky pop-rock song, and their new record could easily be the one that pushes them into the mainstream. Follow the band's progress on their Facebook page, and be ready for the band's new material to be released very soon.

The Daily Blair: Who Is The Best Modern Musical President?

2012-02-21T15:05:00.014-05:00

We all have strong opinions on who was the best President, who was the worst President, what Presdient really caused the current economic crisis, what President caused the Great Depression, who was the best economic President, who was the hottest President, what President was the best Commander-In-Chief, which President got laid the most, and the classic "which President was the best at getting stuck in the bathtub?" debate.

But I have never really heard a discussion or debate about who the best musical President is/was. Meaning I have never heard an argument about what President had the best albums come out during his tenure. So below I have compiled a list of the best albums to come out during each modern Presidents era (post World War II) and you get to decide who the best modern musical President is.*

*Best albums are all from besteveralbums.com*

HARRY TRUMAN
1945: Bing Crosby: Merry Christmas
1946: Lester Young: Prez Conferences
1947: Charlie Parker: Bird & Diz
1948: Mitt Jackson: Mitt Jackson
1949: Lennie Tristano: Crosscurrents
1950: Edith Piaf: Chansons Des Cafes De Paris
1951: Thelonious Monk: Genius of Modern Music: Volume 1
1952: Hank Williams Sings: Hank Williams With His Drifting Cowboys

DWIGHT D EISENHOWER
1953: Chet Baker: Chet Baker Sings
1954: Miles Davis: Birth of The Cool
1955: Frank Sinatra: In The Wee Small Hours
1956: Elvis Presley: Elvis Presley
1957: Little Richard: Here's Little Richard
1958: Billie Holiday: Lady In Satin
1959: Miles Davis: Kind of Blue
1960: Miles Davis: Sketches of Spain

JOHN F. KENNEDY
1961: Robert Johnson: Kind of the Delta Blues Singers
1962: Howlin Wolf: Howlin Wolf
1963: Bob Dylan: The Freewheelin' Bob Dylan

LYNDON B JOHNSON
1964: The Beatles: A Hard Day's Night
1965: Bob Dylan: Highway 61 Revisted
1966: The Beatles: Revolver
1967: The Beatles: Sgt Pepper's Lonely Hearts Club Band
1968: The Beatles: The White Album

RICHARD NIXON
1969: The Beatles: Abbey Road
1970: Black Sabbath: Paranoid
1971: Led Zeppelin: Led Zeppelin IV
1972: David Bowie: The Rise and Fall of Ziggy Stardust and The Spiders From Mars
1973: Pink Floyd: The Dark Side of The Moon
1974: Genesis: The Lamb Lies Down On Broadway

GERALD FORD
1975: Pink Floyd: Wish You Were Here
1976: Ramones: Ramones

JIMMY CARTER
1977: Fleetwood Mac: Rumours
1978: Bruce Springsteen: Darkness on The Edge of Town
1979: The Clash: London Calling
1980: Joy Division: Closer

RONALD REAGAN
1981: Rush: Moving Pictures
1982: Michael Jackson: Thriller
1983: R.E.M.: Murmur
1984: Prince: Purple Rain
1985: Tom Waits: Rain Dogs
1986: The Smiths: The Queen Is Dead
1987: U2: The Joshua Tree
1988: Sonic Youth: Daydream Nation

GEORGE H.W. BUSH
1989: Pixies: Doolittle
1990: Depeche Mode: Violater
1991: Nirvana: Nevermind
1992: R.E.M.: Automatic For The People

BILL CLINTON
1993: Nirvana: In Utero
1994: Jeff Buckley: Grace
1995: Radiohead: The Bends
1996: Weezer: Pinkerton
1997: Radiohead: Ok Computer
1998: Neutral Milk Hotel: In The Aeroplane Over The Sea
1999: The Flaming Lips: The Soft Bulletin
2000: Radiohead: Kid A

GEORGE W BUSH
2001: The Strokes: Is This It?
2002: Coldplay: A Rush of Blood To The Head
2003: The White Stripes: Elephant
2004: Arcade Fire: Funeral
2005: Sufjan Stevens: Illinois
2006: Artic Monkeys: Whatever People Say I Am, That's What I'm Not
2007: Radiohead: In Rainbows
2008: Fleet Foxes: Fleet Foxes

BARACK OBAMA
2009: Animal Collective: Merriweather Post Pavillon
2010: Arcade Fire: The Suburbs
2011: Fleet Foxes: Helplessness Blues
2012 (so far): The Maccabees: Given To The Wild

Who is the best modern musical President?

New Muzik Monday (2/20/12)

2012-02-20T20:53:00.003-05:00

So, I loved the feature that Blair did two weeks ago so much that I'm turning this into a weekly thing. Hopefully we'll get a different staff member every week to make this post, so you get the variety that we usually have in - Give Up The Ghost. Basically, we'll do little summaries of albums that have come out in the last few months that we're really digging lately. So just read and listen.

1. Hospitality - Hospitality
Early Rating: B
Check It Out

I hate to say it, but the only reason I checked out this album was due to the fact that it was released on Merge Records. But I guess it's really just proof that pretty much everything Merge puts out is worth listening to. Hospitality's debut record is fantastic. It's all you could ask for from female led indie-pop goodness, including the sweet vocals of Amber Papini, instrumentation including a wide variety of saxophones and horns, and an endless amount of catchy hooks. Tennis, Wild Flag, and The Dum Dum Girls all come to mind when listening to Hospitality, and it should be very easy for Hospitality to soon join that group of very noticeable acts.

2. Ernest Gonzalez - Natural Traits
Early Rating: B
Check It Out

Again, listening to Natural Traits was a gut call that paid off. If you haven't seen the album's beautiful artwork, then that's probably why you haven't listened to it yet. It's an electronic album that moves past the normal realms of ambient techno, adding in live instrumentation such as subtle guitar riffs in songs like "When Synchronicity Prevails" and a drum kit in "In The End" to contrast with the beeps and (non wubly) bass pulses. "Beneath The Surface" almost feels like a post-rock track at times, showing the diversity that Gonzales' production skills can have.

3. Poliça - Give Up The Ghost
Early Rating: B
Check It Out

First things first; autotune is used thoroughly throughout Give Up The Ghost. But as with fun.'s latest record, the vocoder is used as an effect rather than a crutch. The intense vocal effects work with the eeriness of the record, as creepy electronic pulses are common throughout the record. Members of Gayngs make up the band, including singer Channy Moon-Casselle, while Gayngs leader Ryan Olson takes the part of production for the band. The band's experimental indie rock and electronic feel is definitely similar to Gayngs, but Poliça's unique vocal force helps set the band apart.

Album Review: Memoryhouse - The Slideshow Effect

2012-02-20T19:16:00.001-05:00

Album Rating: B

After dabbling in ambience and dream pop, it should come as no surprise that Toronto based band, Memoryhouse, have once again reinvented their craft...albeit only slightly. And while the lush melodies and relaxed beats of The Years made for a wonderful release, the band displayed a need to project themselves further than the confines of the devisive "chillwave" scene allowed. Thus, The Slideshow Effect came into being; an album that truly shows that Memoryhouse are indeed a band who are not afraid to explore and expand.

The Slideshow Effect, for all intents and purposes, is a pop album through and through. Picking up where 2010's EP left off, Memoryhouse have taken the chilled feel and warped it into something more extraoridinary. It's a dreamy affair for sure, which has always been the draw to the band, but the added emphasis on cohesive, traditional songwriting is incredibly welcome. Vocals play a much larger role than before, despite being a little underwhelming in regards to compelling delivery. However, the tone of the vocals is absolutely beautiful and mesh perfectly with the mood and feel of the record as a whole.

The album opens up the with serene vocals and soft percussion, leading into a very subtle stringed instrument. This is about as wild as The Slideshow Effect gets, and frankly, it's sublime this way. Memoryhouse have crafted pop in their image; beautiful vocals ebbing against the flow of lush rock melodies. When they do happen to pick up the pace and throw in some "pizzaz," mixed results arise. Songs like "The Kids Were Wrong" have a very upbeat sound, but the typically lax vocals sound flat in comparison to the dynamic instrumentation. A small complaint for sure, but the ensuing dichotomy is definitely noticeable.

The Slideshow Effect is the album Memoryhouse needed make to show the world what they're capable off. The album is a lush marriage of indie rock and pop, and a beautiful album overall. Few bands can make the transition from one pre-set sound to another as well as Memoryhouse have, which is exactly why The Slideshow Effect deserves all the attention it can get.

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1. Little Expressionless Animals
2. The Kids Were Wrong
3. All Our Wonder
4. Punctum
5. Heirloom
6. Bonfire
7. Pale Blue
8. Walk With Me
9. Kinds of Light
10. Old Haunts

Album Review: Cheap Girls - Giant Orange

2012-02-20T19:16:00.000-05:00

Album Rating: A-

It seems as if there is nothing all that extraordinary about Ian Graham and he perfectly well knows it. Even now in fronting the third full-length from Lansing's Cheap Girls, Graham still chooses to wail out his stories and discontentment from the far side of the trio's never-waning sonic wall, knowing that the syllables he shouts will be as lost in the hazy production as he is in his own mind. He did so all throughout Find Me A Drink Home, steadily distancing himself from the world around him but failing to sever the ties for good. My Roaring 20's was but a reiteration of the same graceless shortcomings, this time camouflaged behind sunnier track titles and beefier choruses that maintained the self-destructive disposition of their predecessors. Though it could have easily picked up where album-ending confessional 'One & Four' left off, Giant Orange comes off as the optimistic counterpart to more jaded previous offerings. And wouldn't you know it, sunny is a damn good color for Cheap Girls.

With some production help from well-versed punk legend Tom Gabel of Against Me!, the Michigan-based trio are able to soar higher than ever before. Opening track 'Gone All Summer' is testimony to all that a Cheap Girls song can be, with massive fuzzy guitar lines giving the track the vitality it needs to back its (finally) positive outlook. "I've been gone all summer/and I think it's for the greater good," asserts Graham, demonstrating to himself as much as to anyone else that trying to manage musical endeavors with more promising forms of survival doesn't need to be an entirely miserable venture. Even some of the record's seemingly more downtrodden tracks carry themselves with broad shoulders and a firmamental gaze; 'If You Can't Swim' even sees Graham considering the notion that it might just all be okay in the end. This all being said, you know that no Cheap Girls record could be complete without an intensely self-critical track like 'Cored to Empty', the band's one chance to extricate themselves from the drumming's propulsive governance before returning once again to their rock-band sensibilities.

Giant Orange isn't the passage of a struggling rock star into the warm glow of the limelight; rather, it showcases a group that is willing and able to stick it out on a frustrating scene for at least another year. 'Pacer' perfectly encapsulates this going-down-swinging temperament, with the band's attention to instrumental precision and its five-minute play time cementing it not only as Cheap Girls' longest track to date, but one of their most memorable as well. Cheap Girls may in fact be the guys to think the right way last, as closing track 'Right Way' asserts, yet it's worth celebrating the fact that they've at least found a path worth treading.

While nobody can say for sure what brought on the more uplifting effort from Cheap Girls, one can speculate that ample time spent touring with friends in Bomb the Music Industry! and aforementioned Against Me! has something to do with it. Or perhaps it can be attributed to a prolonged absence from the cold and snowy winds that the Great Lakes collectively bring to Lansing. Either way, we listeners ought to be grateful for a band that's continuing to stay true to themselves and glad that they're sticking around.

Stream Giant Orange over at AOL Music here, and be sure to check them out on their ongoing tour with The Menzingers and The Sidekicks this spring!

Track List:
1. Gone All Summer
2. Ruby
3. Communication
4. Cored To Empty
5. Manhattan On Mute
6. Mercy Go Round
7. If You Can't Swim
8. On/Off Switches
9. Pacer
10. Right Way

Album Review: Sharon Van Etten - Tramp

2012-02-20T19:09:00.000-05:00

Album rating: A-

Her work may have passed largely under the radar to date, but there can be no doubting that Brooklyn songwriter Sharon Van Etten has assembled an impressive assortment of admirers. Indeed it would be rather easy to mistake the credits for this third LP as a roll call of modern indie royalty, with Justin Vernon, Sufjan Stevens and every member of The National receiving nods among many others, while the latter’s Aaron Dessner also handles production duties. Critics will no doubt argue that such name checking equates to little more than a well-connected promotional ploy, but upon repeat listening to Tramp it becomes clear that she's gathered such an illustrious book of contacts purely through artistic merit.

There's no point in fluttering around the matter; this is in no way a happy record. Constructed overwhelmingly around lyrical content, it focuses on the various troubles of its makers’ personal life, namely the abrupt end of a turbulent relationship and ensuing homelessness, which persisted throughout the recording process. Given the severity of those issues, you’d perhaps expect refrains with a little more insight than “I am bad, at loving you” and “the world was shitty then,” but the genuine and sincere qualities of Van Etten’s delivery are enough to ensure that these relatively simple words carry just as much weight as their more revealing counterparts. With the record being perpetually mid-paced, the issues at hand tend to be tackled from a purely pragmatic perspective, with Van Etten focusing on reflection as opposed to merely going on the offensive. ‘Serpents’ is a notable exception to this pattern, but although that adds a little venom to proceedings, this is a record that tends to seek the full picture, and if that means hard truths and self-loathing, then so be it.

With such emphasis placed on Van Etten’s vocals and lyrics, you’d be forgiven for thinking that the actual songs come secondary, but in reality there are moments here worthy of gracing the very beast heartbreak albums. The aforementioned ‘Serpents’ is arguably the record’s most accessible cut, but those who look past instant satisfaction will find even greater treats within Tramp’s twelve tracks. ‘All I Can’ for instance spends much of its duration building upon a steady but unspectacular start, eventually transforming into an item of true magnificence which probably marks the most ambitious foray here. ‘Give Out’ and ‘Leonard’ meanwhile take a more direct approach, making use of choruses which wield a brief yet devastating emotional punch, while an even more potent moment rears it’s head in the shape of a truly inspired guest appearance from Beirut mainman Zach Condon on 'We Are Fine.' Such collaborations often seem forced and add little to the song in question, but this is the polar opposite, with his wistful, mourning verse elevating what is already the album's most beautiful song to an entierly new level.

Such immense songcraft isn’t evident on every number here, but even in the less remarkable corners the overriding emotional journey provides more than enough to keep things ticking along nicely, with the piece as a whole tending to impress even more than it's individual songs. It’s not the most immediate record, and may take a quartet of listens before spilling it’s wonders, but once that barrier has been surpassed, Tramp reveals itself as an thoroughly absorbing body of work whilst also boasting a wealth of replay value. It does perhaps lack that little sprinkling of mojo which might just have rendered something of a modern classic, but is nevertheless a fine achievement which should propel its maker well beyond the cult status that she currently adheres to.

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Tracklist

1. Warsaw
2. Give Out
3. Serpents
4. Kevin's
5. Leonard
6. In Line
7. All I Can
8. We Are Fine
9. Magic Chords
10. Ask
11. I', Wrong
12. Joke Or A Lie

The Daily Blair: Monday Fun Day

2012-02-20T16:50:00.027-05:00

Below is a transcript of a conversation between myself and our fearless leader Casey Whitman about the new fun. album Some Nights. We discussed the bands new modern sound, the albums breakthrough potential, the detractors of the album, the future of the band, and if Some Nights will be the best album of 2012.

THE CHANGE IN SOUND
Casey Whitman: So, the new fun. album has gotten some mixed opinions. The album definitely has a new sound than the old one, especially from the instrumental and production standpoint. At least that's my opinion. What do you think?

Blair Chopin: People always give bands a tough time when they change a successful sound. Kid A was just noise but two years later was a classic album, The Age of Adz was "stupid" but now it is stupid enough to define a generation, and Sgt. Pepper's was hippie garbage but now most people think it is the greatest album of all time. So people just take time to adjust to sounds, especially when a band is changing from a successful sound. No one is arguing that Aim and Ignite was a classic album. People need to realize that this album is Magic Johnson playing center and not Michael Jordan playing baseball. It might be different, but it is still just as good and if not better as the old version of fun. The album is basically a modern Aim and Ignite, and that means that fun. is probably going to be one of the biggest bands in the world. And we need more bands with the talent of fun. in the mainstream.

THE BACKLASH
Casey Whitman: But there's so many people that will also oppose that. Just the fact that "We Are Young" is getting on Super Bowl commercials and radio play is enough to incite pitchforks coming out of garages. I don't see why that's a bad thing at all? Nate Ruess has been in amazing bands for ten years now, so why should our selfish thoughts hold him back?

Blair Chopin: It is just a culture we have created. We write about muzik and we actually care about it so we think the bands that we love should just be our bands. That is the exact opposite of what we should be doing. If the same kids who like the Lady Gaga like fun. then let them like fun. We should encourage and push more bands like fun. into the mainstream just so mainstream music can get better. I mean hearing nine year old kids with Lil Wayne shirts sing "Pumped Up Kicks" was annoying but at least we knew that Foster The People were a good band. Every band is always going to have fans that say they "sold out!" Who cares. The best music should be the music that is on the radio. If more fun. gets on the radio that is a big step towards that happening

RADIO POTENTIAL
Casey Whitman: It makes sense. But really, is "We Are Young" even the best track for fun. to blow up with? Is the band even going to be heard again on mainstream radio other than this song? I for one thing think that the title track could easily dominate radio play. It has the groove of what the perfect Olympics song could be. Or maybe even the crazy horns of "One Foot".

Blair Chopin: Well I really think a ton of songs off this album could dominate the radio and they are still damn good songs. I mean "We Are Young" is a modern version of "All The Pretty Girls," which means it is not only damn catchy but also means it is damn groovy, "Some Nights" is the perfect summer song, "One Foot" summarizes modern thought and sound very well,"It Gets Better" could gain a ton of momentum, and "Stars" is the best song on the album. The album is filled with tons of songs that will at least get played on MuzikDizcovery Radio.

AUTOTUNING
Casey Whitman: You mentioned "It Gets Better". Now, I know this topic has been beaten to death by now, but the VOCODER. Nate Ruess, autotuning his vocals? Why did it have to end this way? Why did he have to damage his heavenly vocals with this?
Well, I actually enjoy it. He's not using it as a crutch, but as an effect, and it goes very well.

Blair Chopin: The folks need to realize that this is a total modernization of Aim and Ignite. And what is more modern then autotuning? Nate still does an awesome job singing and has just as many "wow" moments as he did on Aim and Ignite. The autotuning actually makes some of the songs better and never really hurts any of the songs. I like it.

MODERNIZATION
Casey Whitman: But is modernization actually the best way to improve a sound? I mean, some of the songs sound almost old fashioned as well. "Some Nights Intro" sounds pretty much like Queen, which kind of goes against your feeling of "modernization."

Blair Chopin: I'm not saying that it is improving the sound but it is an expansion of the previous sound. I still think Aim and Ignite is a better album than this and not a lot of people are going to argue that. It seemed like Aim and Ignite was just a beautiful tribute album to Queen and the Beach Boys though. This album keeps those influences in spots, but it sounds like a fun. album instead. Now the "Some Nights (Intro)" might sound exactly like Queen, but it is still a sped up version of "Be Calm." This pattern repeats itself throughout the album. "Some Nights" is "Benson Hedges" with more of a dance feel, "It Gets Better" is an auto tuned "At Least I'm Not As Sad (As I Used To Be,") "Carry On" is "I Wanna Be The One with a bigger choruses, "Stars" is "Take Your Time" with a bit more self reflection, and "All Alright" Is a bigger version of "The Gambler." It is still an excellent modernization of a classic album.

ALBUM OF THE YEAR?
Casey Whitman: This album really seems to be a front runner for the rest of the year. Do you see it remaining up in the front of end of year lists by December?

Blair Chopin: It is going to be really tough to beat. The National will put out a National album ( a perfectly crafted album with about five really good songs) but will it have the importance of this record? I don't know. Frightened Rabbit will come out with a Frightened Rabbit album (a overemotional album that you fall in love with) but will it be as consitent as this album? I don't know. It is going to be the first time in a while we have had a band with this good of a reputation getting consistent play on the radio. I mean when is the last time a band that has arguably already put out two classic albums (counting The Format) put out an album like this? Do we have to go back to the Beatles, Queen, or the Beach Boys? Well then I guess fun. have finally paid homage to those bands in ways that they didn't even think were possible.

Come back next week when me and Casey discuss the best Ron Swanson moments.

Stream Some Nights on fun.'s website here.

Live Review: Brand New, O2 Academy Newcastle, 16/02/2012

2012-02-19T17:15:00.001-05:00

Oh what I'd have given to see Brand New two years ago... It's not that I think they've gone downhill, or that they've even grown off me, but nowadays I just don't feel the ritualistic need to listen to their music every single day as I used to. Each of their songs still lies permanently ingrained inside my head, and although the love affair continues it's fair to say that the phase where I was completely reliant upon them has passed. Still, two years late or not, Thursday night finally marked my first live experience of one of my favourite bands - although I must admit I went into it with more than a little pessimism. Would their performance still have the same effect on me as it would have 24-months ago? Would their setlist place too much emphasis on certain corners of their discography, and most importantly, would they be able to match the immense emotional impact of their studio recordings?

With regards to the second question, the band spent much of the night travelling back in time, charting in reverse their transformation from a run-of-the-mill pop-punk band to the magnificent alt-rock outfit they are today. Beginning with a quartet of songs from The Devil And God Are Raging Inside Me, they set their bar spectacularly high, but by and large the rest of their set followed suite and provided just as many thrills. Arguably best received were the cuts from Deja Entendu, with the irresistible grooves of 'Sic Transit Gloria... Glory Fades' drawing a great response from the sold out crowd, while 'Okay, I Believe You, But My Tommy Gun Don't' and 'Me Vs. Maradona Vs. Elvis' provided an equally potent bounce and emotional punch respectively. Even the material from notably inferior debut outing Your Favourite Weapon went down a storm, with the fantastic 'Jude Law And The Semester Abroad' belted out with just as much zest as their more fulfilling moments.

With the backwards evolution complete, Jesse Lacey was then left alone on stage for a short solo run, and that's where the problems started to mount. There was nothing wrong with his renditions of early numbers 'Moshi Moshi' and 'Soco Amaretto Lime' - indeed their stripped back nature provided welcome relief from the overly distorted PA which had been prevalent from the off - but they began a run which saw he and his band lose a lot of their momentum after such an intense and purposeful start. 'Limousine' and 'Jesus Christ,' which followed when the rest of the band returned continued this cycle, with both falling victim to poor placement. There can be no doubting what astounding compositions they are, but in the midst of such a downbeat succession both seemed strangely flat, sucking energy as opposed to filling one with a sense of life-affirming vigour as you'd perhaps expect.

Thankfully, they not only managed to arrest the fall, but did so in some style by employing a one-two punch of 'Degausser' and 'You Won't Know' to close the show. Both were absolutely stunning, and beyond mere redemption proved a fine way to cap off what was overall a strong showing. There were plenty of blips along the way, but when they hit their stride the sheer majesty and emotional weight of their music was in full evidence, precisely what you'd want from a Brand New live performance. With three years having passed since the release of Daisy (from which only 'Vices' and 'Sink' were aired), it was maybe a little disappointing that no new material was introduced to the set, but when you've got such a strong back catalogue to fall back on, such nitpicking counts for little. More telling was the fact that the band - and Lacey in particular - displayed a generally positive attitude throughout the night, suggesting that their claims of a more positive future direction may have held a little more substance than they initially seemed. Whichever way they go, it's sure to be among their most eagerly awaited releases yet, and given their past form you get the impression that another masterpiece may not be beyond them.

Finally, a special mention for Brooklyn quintet I Am The Avalanche, who occupied the second support slot of the evening. Their visceral and anthemic brand of pop-punk made quite an impression on most of those who had turned up early, with their infectious hooks still memorable long after the focus had switched to Brand New. All of their songs impressed, but it was 'Gratitude,' the closer to new album Avalanche United which proved the undisputed highlight. That number alone was enough to outshine Scottish trio The Xcerts, who had put in a passionate, if ultimately mundane shift prior to their appearance.

Setlist

Album Review: Pepe Deluxé - Queen of the Wave

2012-02-19T15:17:00.002-05:00

Album Rating: A

A Dweller on Two Planets and its sequel, An Earth Dweller’s Return, were released to bewildered readers in the early 20th century and soon gathered a rather niche cult following, mostly due to surreal nature of both books and the bizarre instances surrounding their creation. Work started on the first book when a child genius’ hand was possessed by a dark power, forcing him to write continuously until the feeling slowly ebbed away (a convincing story, I know). These initial demonic scribblings soon evolved into a tale of futuristic technology, black magic, heroes and villains: all set, for the most part, in the mystical, aquatic city of Atlantis. On discovering these books, Pepe Deluxe took the only logical step in deciding that they were perfect material for a pop-opera concept album. The result is Queen of the Wave, the most ambitious and aggressively bizarre album we’re likely to see this decade. Confining itself to only the key points in the story, instead choosing to focus on indulging in the sheer madness of the source material, Queen of the Wave demonstrates Pepe Delux at their best: splicing an alarming multitude of genres while keeping a renowned sense of charm and narrative.

The result is a spectacle with all the glitz and the glamour of a high-end Broadway show. Like an expensive lap-dancer, Queen of the Wave is careful to keep you at arms distance while it seduces you, likewise it knows that it’s the lack of personal connection that fuels this illustrious factor of mystery. It presents itself as impenetrable; a never ending barrage of sound: sounds of which have never been heard before. This isn’t a surprise, in retrospect, as in the 5 years proceeding their last album the two men behind Pepe Deluxe has certainly kept themselves busy. Visits to the famous Stalagpipe Organ, a 500,000 volt Tesla coil synthesiser and Edison’s ghost machine have not gone without their merits. The Stalacpipe Organ (the largest instrument in the world, think of a regular organ and then imagine that, in place of pipes, it uses stalactites), especially, shows its value in "In The Cave", a vast, haunting piece that stands away from the bulk of the album by being so humble. Elsewhere, Queen of the Wave cannot be expected to show restraint. Echoing the style of its subject matter, it assaults the listener with colourful, neon splashes of pure self-indulgence. Rich beds of sublime wind instruments battle with jazz bands and blues guitar and keyboards and synthesisers and etc. and etc... no genre or style is left untouched as you’re swamped by the album’s never ending influences. The result is something very baroque, but at the same time eerily cheerful. The inclusion of two very talented vocalists, both of whom echo the finer moments of mid-20th century jazz, completes a package that is, in every respect, larger than life.

Nothing displays Pepe Deluxe’s predisposed attitude towards excess quite like "The Storm", a piece sounding like it’s been ripped straight out of a 60’s thriller b-movie. Ominous choirs scream out cult-like chants, only to give way to rolling percussion, blaring brass and car-chase guitar solos. It’s incredibly dramatic and recklessly progressive as it barrels towards the sea-side carnival, farewell jaunt that is "Riders on the First Ark". At the same time, it still manages to instill a certain sense of suspense in the style of an old spy movie when the song briefly breaks down to light percussion and plucked cellos. It’s a marvel that an album appearing to have so much fun can be as deep and nuanced as Queen of the Wave. Pepe Deluxe’s attitude that “more is more”, with their songs presenting layers and layers to be unravelled, would be destined for disaster if the album wasn’t so carefully constructed, and it’s a testament to their skill that the album doesn’t collapse under the weight of all their ambition. A criticism could possibly be made by declaring that the story of the books is almost smothered by the extravagance of the music surrounding it, but the story is there, if you look for it, and the slow realisation of the narrative makes the album all the more interesting when it finally - kind of - makes sense.

In the end Queen of the Wave is unlike anything that’s come in a long enough time for it to be significant. Where most artists seek to acquire an intimate subtlety with their work, Pepe Deluxe charge in the opposite direction with an unashamedly bonkers romp through retro beats surreal landscapes. Completely impossible to relate to, but better for it, Queen of the Wave still manages to drip with charm. Rarely has an album been so lovingly produced, and so exciting to listen to. The duo have set out to impress and have only exceeded expectations in creating something truly unforgettable.

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Track list
1. Queen's Wave
2. A Night and a Day
3. Go Supersonic
4. Temple of Unfed Fire
5. Contain Thyself
6. Hesperus Garden
7. Grave Prophesy
8. In The Cave
9. My Flaming Thirst
10. Iron Giant
11. The Storm
12. Riders of the First Ark

Artist Spotlight: Wild Nothing

2012-02-18T23:18:00.002-05:00

Brooklyn based independent label Captured Tracks is currently the home to some of the most interesting and prominent bands in modern jangly, shoegazy whateverness. Wild Nothing, the brainchild of Virginian Jack Tatum is probably the most notable of these groups, amongst peers such as Beach Fossils and Craft Spells. The band's 2010 debut Gemini, recorded by only Tatum alone in his bedroom, was released to much critical acclaim, and is personally amongst my top favorite albums of the past five years. Tatum's catchy, nostalgic pop tunes such as "Summer Holiday" and "Chinatown" simply demanded to be played nonstop and stole the hearts of C86 fans everywhere. And now Tatum and company have returned with a new track from Wild Nothing's currently untitled sophomore effort, titled "Nowhere", accompanied by "Wait" as a b-side, to be officially released on vinyl on February 21. Listening to the two tracks makes it very apparent what changes the band has gone through. The leap from bedroom to studio was definitely more than enough to bring Wild Nothing to the next stage in their evolution, adopting a more twee sound, with the help of Twin Sister's Andrea Estrella. It sounds a lot like the music of Craft Spells and Beach Fossils has rubbed off a fair amount on the band, adopting similar production styles. It is still not entirely clear what Wild Nothing is going to pull off on their second album, but the follow up to Gemini is personally one of my most (if not my most) anticipated release of 2012.

Check out Wild Nothing on Facebook.

Album Review: Cursive - I Am Gemini

2012-02-16T16:09:00.000-05:00

Album Rating: A

Cursive is one of those bands that has thrived through a couple of generational musical shifts, editing their sound and adapting it to reflect their own personal lives. A couple of stops along the way were the instrumentation around cellist Gretta Cohn in The Ugly Organ, to the facade of perfection portrayed on Happy Hollow. However, I Am Gemini absolutely tops all of those prior releases. The album is ominously light, and airily dark. Lyrically, there are many references to angels, demons, and detailed metaphors to suit the mood perfectly. Musically, the album is wonderfully creative, with each song being individualistic, but blending into one another with immaculate ease, to a place where the separation of tracks is undifferentiable, or more so, unimportant. I Am Gemini brings a whole new Cursive to the table, and with it, a perverse tragedy that redefines the detail and beauty of the concept album.

In order to write a fair review of this album, I need to talk about it in two parts. That is honestly the only way to do this album justice.

First, the musicality of the album is beyond gorgeous. The entire thing is a piece of art, and each track on its own shows character with subtle nuances that really entice the listener, throwing in so much more personality than would ever be possible on an album that isn't based on a central theme. From the intro in compound time, the flowing "This House Alive", an easy, headbobbing piece that drifts along introspectively, yet smoothly as can be, to the metaphor filled, "The Sun And Moon", somewhat of a pop-rock impression that starts relating the two characters, Cassius and Pollock, as - yes, you guessed it - the sun and moon. As the album progresses, the mood continues onwards, spiraling to a darker and more depraved place, to a point where "The Cat And Mouse" depicts a frantic point of insanity, fast paced, adrenaline-filled, and murderous, a musical feat only enhanced by Tim Kasher's ability to portray paranoia and rage, as well as a palette of other emotions at will through his voice.

The whole set of tracks portrays this set of feelings through the music very well indeed, but is even further progressed through the lyrical quality of each song. In fact, the setup of the entire album is very impressive - looking at the album liner, it's actually set up into a two part play, with stage directions between the lyrics, which are the lines for different sets of characters, many choruses being said by various angels and demons, while the verses are sung by either Pollock or Cassius. And their lines are strikingly well-written, colloquialisms and references strewn throughout, like in "Double Dead", where Pollock is talking to Cassius, who is passed out and at the will of Pollock, who sings, "Out cold, run over by the boulder of Sisyphus / Doesn't it seem to get a bit repetitive? / Over and over and over again", a witty reference to the classic Sisyphian struggle, which Cassius experiences as a balance between his foolish excitement and his deeper suspicion of Pollock. Kasher really hit it spot on with lyricism in this album, in that there are so many intelligent allusions that it's really difficult not to appreciate each of them as they race by.

I could go on and on about I Am Gemini, and I would surely love to, but to keep it concise, I thoroughly loved this album. The music behind the album reflects the flexible and fluid mood, and the orchestration, in loving tandem with each and every venomous verse, has a certain influence that's impossible to escape once you're two or three songs in. In fact, I don't really know which way Cursive's going to go after this album - it's actually a valid concern of mine that this is their peak, and they won't be able to match up to this. Then again, as I've said plenty of times before, this album is an absolute testament to Kasher's ingenuity and creativity, so I sincerely hope he proves me wrong.

The album is out February 21st. You can take a sneak peak at two tracks off of the album, "Wowowow" and "The Sun and Moon", on their MySpace.

Track Listing:
01) This House Alive
02) Warmer Warmer
03) The Sun and Moon
04) Drunken Birds
05) Lullaby For No Name
06) Double Dead
07) Gemini
08) Twin Dragon / Hello, Skeleton
09) Wowowow
10) This House A Lie
11) The Cat and Mouse
12) A Birthday Bash
13) Eulogy For No Name

Live Review: Dropkick Murphys, Glasgow Barrowlands, 11/02/2012

2012-02-16T10:45:00.002-05:00

Everyone has a touchstone band - one that truly turned them onto music and thus changed their life forever - and for me, that band was Dropkick Murphys. First introduced through my dad back in 2005, that first listen to The Warrior's Code began a chain reaction which eventually led me to current favourites such as For Emma, Forever Ago, The Midnight Organ Fight and In The Aeroplane Over The Sea. My listening habits have changed almost beyond recognition along the way, but the Boston punks remain firmly among my favourites, and in a family where any given note can cause a scrap they're a rare example of a band that we all share a complete undying love for. With no Newcastle date, then, a Welford clan visit north of the border was on the cards, with Glasgow's famous Barrowlands Hall providing the venue. Drunk Scots, Celtic punk and seven foot giants in kilts; what better way to spend a weekend?!

An American band playing a distinctly Irish brand of punk in a Scotland may seem like a bizarre combination, but given the links between the latter two countries it felt like a strangely relevant setting - almost akin to a homecoming. They certainly came racing out of the blacks, with their hundred mile an hour cover of 'The Irish Rover' providing a purposeful opener if ever there was one. Unfortunately, it also caught the PA system completely off guard, with most of the traditional instrumentation lost in a distorted electric racket, and so most of the 2000 in attendance didn't seem to recognise the song until it's halfway point. Thankfully, the volume was turned down a notch from then on in, but the band themselves showed no signs of compromise, belting through the usual established favourites alongside a wealth of cuts from latest album Going Out In Style. The setlist did, in fact, seem to lean a little heavily on that record, but although they strangely omitted it's two best songs - 'Hang 'Em High' and 'The Hardest Mile' - the quality of the cuts which were aired ensured that this was only a minor issue.

Usually when you attend a Dropkick Murphys gig, you expect this frantic pace to continue unchecked from beginning to end, but tonight the band decided to mix things up a little by including a short acoustic segment mid-set. Results were decidedly mixed, with a surprisingly successful adaptation of 'The Warrior's Code' undermined somewhat by 'The Devil's Brigade,' which frankly didn't work at all stripped down. Newie 'Take Them Down' and the classic 'Boys On The Docks' proved far safer bets however, ultimately rendering this unlikely diversion a success - although there was a definite sense of relief which accompanied the reemergence of the electrics, coupled with anticipation for what lay ahead.

The remainder certainly didn't disappoint either, with the band tearing through all corners of their back catalogue with the type of unrelenting proficiency that routinely puts their contemporaries to shame. As ever, the encore was a wonderfully shambolic mess, but as well as the customary duo of 'Kiss Me I'm Shitfaced' and 'Skinhead On The MBTA' the band decided to go even further, introducing a crushing cover of AC/DC's 'TNT' before ending on an absolute bombshell with their own searing hardcore number 'Citizen C.I.A,' which provided 'Heroes Of Our Past' competition as the best song on the night. It wasn't the most obvious closer, but was brutally effective in its purpose, providing an abrupt conclusion to yet another fine showing. In truth, it was a night in which they never quite hit top form, yet it still managed to be an immensely satisfying one - proof if needed that Dropkick Murphys remain firmly atop the Celtic punk food chain. With a new record due later this year, that dominance looks all set to continue, and that's no bad thing.

Album Review: Ulrich Schnauss & Mark Peters - Underrated Silence

2012-02-14T05:00:00.003-05:00

Album Rating: B

There’s something quite ironic in how this pairing have chosen to title their release. Ulrich Schnauss, a man more than qualified in the art of straining lo-fi electronics through a fine, shoegaze mesh, and Mark Peters, himself a guitarist in the shoegazing outfit “The Engineers”, are not people you would initially expect to enjoy silence. Not least because their profession rotates about disturbing this “Underrated Silence”, especially with shoegaze as a whole often expanding to fill every quiet gap available.

Ignoring the title, the album develops just as you’d expect considering the musicians’ previous works. Soft, rich synthesisers create a warm backdrop: layers so thick and distorted they tend to spill into each other, forming a fluid, ever changing ground with which the melodies can interact. Peter’s guitar takes centre stage: calmly progressing atop each piece, rippling in the haze beneath it. Percussion discretely persists in the background; vocal samples emerge from the void only to sink back in again. “Underrated Silence” is nothing if not lazy, with its tracks quietly waltzing into climax, and their tones so impossibly optimistic.

This peaceful atmosphere is paramount to truly understanding the artists’ goal: to make music that echoes the qualities of silence. “Underrated Silence” does not contain music that will surprise or challenge you; it simply swans along at its own leisure. Its sugary-sweet complexion is a constant, with the duo rarely deviating far from that tone. Sometimes it will build up to a crescendo and sometimes it won’t, the point is that you don’t care.

Except… I do care. In so much as the album’s vision becomes its greatest flaw, since while “Underrated Silence” swells to the point of bursting with its multitude of layers and textures, there’s surprisingly little to sink your teeth into. It’s a very one-sided view of a peaceful, summer afternoon with seldom to discover beyond the first listen. Forming a picture perfect snap of tranquillity, yet with the noticeable absence of any other motif or purpose it runs the risk of descending into background music alone. It remains uncompromisingly beautiful, of course, most notably in the steady unfurling of Gift Horses Mouth and the slow-motion stampede that is Yesterday Didn’t Exist, but with little to relate to in the album this beauty can do no more than pass by you with its dancing gait. As something to observe instead of experience.

It would be premature and no doubt rather cruel to dismiss the album entirely because of this one flaw, and indeed “Underrated Silence” still holds up very well in this ever critical light. Schnauss and Peters have managed to craft a thing of abstract, swelling beauty, one completely mirroring the nondescript, peaceful values of silence itself, but it falls short of any true greatness; too involved in its own values to truly connect.

"Underrated Silence" was released in February, 2012

Ulrich Schnauss: Facebook

Buy This Album

Tracklist

1. The Messiah is Falling

2. Long Distance Call

3. Forgotten

4. Yesterday Didn't Exist

5. Rosen I'm Asphalt

6. The Child of the Pidgeon

7. Ekaterina

8. Amoxicillin

9. Gift Horse's Mouth

10. Underrated Silence

Frenchy's New Muzik Monday (2/13/12)

2012-02-13T18:07:00.004-05:00

Here’s some new music for y’all to take in. Just a quick warning though: it’s not all immediately accessible (especially Sigh) and one of the songs is 2 years old, but I’m sure many of you are unfamiliar with it so I’m posting it regardless. Enjoy!

Burial - Kindred
Stream here

Firstly, let’s start off with a song so fresh that it still has that brand-new car scent. You’ll all no doubt have heard of Burial by now. Letting all of us become familiar once more with Dubstep’s presence in 2007 via Untrue, Burial helped us get in touch with a genre we almost forgot existed and has since been satiating the craving for those pining to hear more of his signature style of Dubstep through the release of EPs. Somehow (almost impossibly) redefining a sound that was already redefined, “Kindred” (song and EP) sounds like it’s charting new territory, fleshing out Burial’s brooding side and focusing heavily on atmosphere. On an EP with songs that constantly meander, “Kindred” is decidedly the most straightforward of the three. The other two are available for stream right below “Kindred”, assuming you like said song.

John Talabot - Depak Lne
Stream here

John Talabot’s 2012 entry alubum (Fin) is one of the most exciting house albums I’ve heard in recent memory. Toying with ideas most artists stray from or are too afraid to fully explore, Talabot seems to really have a knack for creating mood and atmosphere, taking influence from funk, glam, electro, and so on. Fin truly is an album comprised of songs that sound completely different, nuanced, and fully realized. It’s in listening to a track like Depak Lne that one can fully appreciate just how nuanced his sound is: drawing initially from tribal percussion and a contorted synth line, "Depak Lne" is a slow burner - transitioning from a hazily brooding atmosphere to an organic, upbeat sound with crooning chants, it encapsulates Talabot’s best qualities.

Sigh - The Transfiguration
Stream here

Okay, let it be known: this song is most assuredly not for everyone. In fact, chances are people will likely regard this with contempt and/or laughter and most people will steer clear of this. And sure, it sounds a little silly, but (as always) Sigh opt to create something fresh instead of a retread of past material. Their resolute refusal to be pigeonholed is something that has to be met with admiration. The debate as to what they are rages on, and while they don’t belong to any one particular genre more so than the other, it’s obvious that their sound is comprised of constituent parts black metal, progressive metal, avant-garde metal, symphonic metal, and even some psychedelia. “The Transfiguration” opens with exhilarating percussive instruments and leads from the first verse to a chorus with indistinguishable but fun/playful female vocals contrasted against thudding drums. Featuring both a saxophone solo and what sound like a pan-flute renaissance outro, Sigh have once more shown that they are pushing boundaries and refuse to conform to traditional standards. It’s playful, it’s fun, it’s energetic, and - best of all - it’s excitingly new.

The Knife - Colouring of Pigeons
Stream here

My favourite song of all time. It’s only been out for two years, but Colouring of Pigeons is a perfect encapsulation of everything I look for in music. Focusing the talents of Planningtorock and Mt. Sims, The Knife have created a sound that simply couldn’t be manipulated on their own with an operatic focus and coos emulating those of birds. Detailing Charles Darwin’s time aboard the HMS Beagle for his voyage to chart South Africa, the lyrics fixate on his fascination of the colouring of pigeons, their skeletal structures, feathers, and other such things aside his fancy of pigeons, such as letters to Henslow about Northern forms of vegetation vs. Southern forms. Through the talents of many vocalists and a large array of instruments ranging from wood guiros, carbasas’, tambourine, xylophone, gong, etc., the song effortlessly exudes an organic aura and evokes sensational imagery. It almost has a sense of life to it, sounding as if it were recorded right in the middle of a tropical rainforest. One of the coolest aspects of it is how it almost feels like a rap-passover from the first vocalist to the second when the first verse is concluded with “A strange scene it is, under - over - through”. Songs like these come about once in a lifetime -- make sure you check it out.

The Daily Blair: The Ultimate Album Theory

2012-02-13T17:38:00.006-05:00

I have always had a huge problem with greatest hits albums because they are rarely anything more than just a simple collection of hit songs. Greatest Hits albums do not have the flow of a studio album, they do not have the unique feel of a studio album, and they often struggle to gain any momentum. Greatest Hits albums are usually made when the band or the artist needs money badly, when a record company is desperately trying to squeeze some money out of an artist, and when an artist or a band has absolutely no new material. I have always thought we should call them "Greatest Quits" albums.

But I have come to accept that not everyone enjoys music the same way I do. A good percentage of people would get a bands greatest hits before they picked up everyone of the bands albums because this saves them not only time but money. Greatest Hits have become the logical listen in our culture of immediacy. We have to accept that not everyone wants to go through a bands discography, not everyone feels obligated to write every day on a blog, not everyone cares enough to put every album in historical context, and sometimes Greatest Hits albums are the best way to Dizcover new Muzik.

We have to accept that Greatest Hits albums will always be the first option for most people when they want to check out new artists. Instead of yelling at these people for not having all of Arcade Fire's B sides downloaded we should simply offer ways to reform the greatest hits album. We have to reform the greatest hits album to make it sound like it was an actual studio album, we have to reform the greatest hits album to make sure we are actually getting the bands best songs, and we have to reform the Greatest Hits albums so the average person can actually be an educated listener of music. How do we do this though? How do we fix something that has been broken for so long?

The answer is so simple that it may shock you: the tracklist. We have to understand that every ten track album usually follows this exact formula: the first track is the introduction that sets the tone for the entire album, the second track takes the first track in an extremely soft (piano based) or extremely hard (guitar driven) direction, the third track is the track that is supposed to rope people into buying the album and is usually the most catchy song and the single, the fourth single expands on the sound of the third track and tries to keep the momentum of that track going, the fifth track is usually the "experimental" track and is usually a long ballad or a long hard rocking song, either the sixth track or the seventh track will be an interlude and the other track will return the album to the form that was presented in the single, the eighth track will often serve as a experimental song in which a band tries to do something they are not accustom to doing (for instance a hard rock band trying a dance song or featuring a guest R&B singer,) the ninth track is usually a water downed version of one of the singles and is just a set up for the last track, and the tenth and final track is an epic expansion of one of the ideas presented in the first track and is usually the longest and most complicated song on the album. The standard ten track rock album usually flows perfectly together and is usually a uniquely bad or uniquely good listening experience because of this.

So obviously the tracklisting and the flow of the album are very important and it is really important that we take advantage of this while creating the new version of our greatest hits albums. The key for us is choosing the bands best opening track of their discography, the best second track in the bands discography, the best third track in the bands discography, the best fourth track, and so on. This way we get all of the bands best songs, we get an album that features a variety of the bands work, and we also get an album that flows together perfectly. This tracklist formula not only gives us the real version of the bands greatest hits but it also gives us the bands ultimate album. Here are a few "Greatest Hits" for some of my favorite bands:

RADIOHEAD'S GREATEST HITS
Radiohead's best first track: 2+2=5 (HTTT)
Radiohead's best second track: Paranoid Android (OKC)
Radiohead's best third track: The National Anthem (KID A)
Radiohead's best fourth track: How To Disappear Completely (KID A)
Radiohead's best fifth track: All I Need (IR)
Radiohead's best sixth track: Karma Police (OKC)
Radiohead's best seventh track: Reckoner (IR)
Radiohead's best eighth track: Idioteque (KID A)
Radiohead's best ninth track: There There (HTTT)
Radiohead's best tenth track: Videotape (IR)

This is an album that surprisingly flows together very well. The opener "2+2=5" is a classic political rock song that's last riff flows perfectly into the opening acoustics of "Paranoid Android," the last solo of the near six minute epic flows into the classic opening riff of "The National Anthem," "The National Anthem" naturally flows into "How To Disappear Completely," the story of HTDC fits together perfectly with the love song feel of "All I Need" (you could say that Yorke was lost and suicidal but then found love and it was "all he needed" to escape from his depression,) the paralyzing final seconds of "All I Need" flow perfectly with the piano acoustic driven opening of "Karma Police," the chaotic ending to "Karma Police" would flow perfectly into the electronic and electric guitar opening of "Reckoner," the soft ending of "Reckoner" would work with the "sudden" opening of "Idioteque," the banging beat of "Idioteque" goes well with the opening drums of "There There," and the end of "There There" would work well with the soft start of "Videotape." Radiohead's ultimate album gives us ten of the bands best songs that flow perfectly together.

BRIGHT EYES GREATEST HITS
Bright Eyes best first track: At The Bottom of Everything (Wide Awake)
Bright Eyes best second track: Four Winds (Cassadaga)
Bright Eyes best third track: The Calendar Hung Itself (Fevers & Mirrors)
Bright Eyes best fourth track: You Will? (Lifted)
Bright Eyes best fifth track: Take It Easy (Leave Nothing) Digital Ash
Bright Eyes best sixth track: First Day of My Life (Wide Awake)
Bright Eyes best seventh track: I Believe In Symmetry (Digitial Ash)
Bright Eyes best eighth track: Landlocked Blues (Wide Awake)
Bright Eyes best ninth track: Make War (Lifted)
Bright Eyes best tenth track: One For You, One For Me (People's Key)

Still feels like a real album!

THE BEATLES GREATEST HITS
The Beatles best first track: Help! (Help!)
The Beatles best second track: Something (Abbey Road)
The Beatles best third track: Lucy In The Sky With Diamonds (Sgt Pepper's)
The Beatles best fourth track: Oh Darling! (Abbey Road)
The Beatles best fifth track: Here, There, and Everywhere (Revolver)
The Beatles best sixth track: Let It Be (Let It Be)
The Beatles best seventh track: Michelle (Rubber Soul)
The Beatles best eighth track: Strawberry Fields Forever (Magical Mystery Tour)
The Beatles best ninth track: And Your Bird Can Sing (Revolver)
The Beatles best tenth track: I'm So Tired (White Album)

Might need a few more tracks, but is still pretty damn good.

THE NATIONAL'S GREATEST HITS
The National's best first track: Fake Empire (Boxer)
The National's best second track: Sorrow (High Violet)
The National's best third track: Lit Up (Alligator)
The National's best fourth track: Squalor Victoria (Boxer)
The National's best fifth track: Afraid of Everyone (High Violet)
The National's best sixth track: Slow Show (Boxer)
The National's best seventh track: Lemonworld (High Violet)
The National's best eighth track: Start A War (Boxer)
The National's best ninth track: All The Wine (Alligator)
The National's best tenth track: England (High Violet)

SAY ANYTHING'S GREATEST HITS
Say Anything's best first track: Belt (IARB)
Say Anything's best second track: No Soul (IDOTG)
Say Anything's best third track: That Is Why (IDOTG)
Say Anything's best fourth track: Alive With The Glory of Love (IARB)
Say Anything's best fifth track: This Is F____ing Ecstasy (IDOTG)
Say Anything's best sixth track: Mara and Me (S/T)
Say Anything's best seventh track: Shiska (IDOTG)
Say Anything's best eighth track: Baby Girl, I'm a Blur (IDOTG)
Say Anything's best ninth track: Cemetary (S/T)
Say Anything's best tenth track: Have At Thee! (IDOTG)

What do you guys think? What would be the ultimate albums for your favorite bands?

MuzikDizcovery Exclusive: Take One Car - Brim + MuzikDizcovery Recreation

2012-02-13T11:39:00.026-05:00

We at MuzikDizcovery are extremely happy at premier a brand new song by Take One Car. "Brim" is the fourth track off their upcoming record It's Going To Be A Nice Day, out February 21st. Unlike first single "Ronnie", "Brim" shows a heavier and more atmospheric part of Take One Car, which is probably the style that the band does best.

We also have a MuzikDizcovery Recreation of the same song! The band strips down with acoustic guitars, bells, shakers, and more to highlight a side of the band that we don't normally see. While the recreation is as far from the original song as can be, the band pulls it off amazingly, displaying even more the immense talent that the band possesses. You can listen to the original track and watch the recreation below, and post your thoughts in the comments on the song, as well as which version you prefer.

Listen to "Ronnie" on the band's Bandcamp, and "like" their Facebook for updates on when a full stream of the album may happen.

Album Review: Tennis - Young & Old

2012-02-13T01:08:00.000-05:00

Album Rating: B-

Husband and wife duo Tennis seems to have trouble giving their albums fitting release dates. For the second year in a row, the group has released a full length in the cold of winter. For being a band whose debut was based on experiences during a sailing expedition, winter just seems like the entirely wrong season to release a record. But while Cape Dory barely lasted in peoples' minds by the time the leaves appeared on the trees, the improvements in Young & Old should allow the record to finally last until beach towels go on to the sand and community pools are filled with families waiting to cool off from the blistering sun.

First single "Origins" is easily the best track on the album, and also the best distinguisher of the new instrumental based style that Tennis has adapted. The bellowing saxophone line contrasts everything that Tennis has done to date, but it perfectly complements Moore's sweet and finally substantial vocals. The chorus is one of the more memorable portions of a track that Tennis has ever released, and the song has the potential to end up on plenty of end of year lists.

The biggest reason for Tennis' easier survival through the wintery cold is the warmer, more thorough production. Cape Dory's production was too light to give the album a sense of fullness, and it held back Alaina Moore's sweet vocals from being anything more than fluff. Thankfully, Patrick Carney of The Black Keys' fame has helped soup up the overall sound of the record, as the instrumentals factor in much more predominantly in Young & Old. This aids the record from becoming dull and monotonous as Cape Dory was, while stretching Tennis' sound past simple beachy indie pop to slightly more creative territory.

As with Cape Dory, the album runs together other than the standout track ("Take Me Somewhere" on Cape Dory). But the improved instrumentaiton and production make that running together somewhat enjoyable rather than overly boring. Pretty much every aspect from Cape Dory is much improved, as it's easy to find a song on the album that features a part stronger than any part of the debut. While Young & Old may not be the record of the year, or even a consideration for one of the best, it should be the perfect beachside record. Just as sitting out in the sun for too long will cause sunburn, listening to this record too much will make it a stale listen. But listen to it in moderation, and it should be perfectly bronzed.

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Album Stream

Track List:
01. It All Feels The Same
02. Origins
03. My Better Self
04. Traveling
05. Petition
06. Robin
07. High Road
08. Dreaming
09. Take Me To Heaven
10. Never To Part

Album Review: Beth Jeans Houghton & The Hooves of Destiny - Yours Truly, Cellophane Nose

2012-02-12T12:30:00.001-05:00

Album Rating: B+

At this point in the year, one might go so far as to say that Beth Jeans Houghton is a rather masterful tease artist. The 2011 release of singles 'Dodecahedron' and 'Liliputt' catapulted Houghton and her ever-loyal backing from The Hooves of Destiny directly into the spotlight of British and American critics alike, with an indefinite release date allowing listeners plenty of time to immerse themselves in the tracks before offering them any more. Alas, almost an entire year after the release of the record's front-running single, Yours Truly, Cellophane Nose arrives in full to sate the palates of eager listeners. Worth the wait in every which way, YT,CN is an eccentric and elegant journey through the quirky musical mind of Beth Jeans Houghton herself.

It becomes pretty clear from the get-go that a lot of thought and time went into creating the soundscapes of Yours Truly, Cellophane Nose. Unconventional textures and elements are stacked and layered in nearly every imaginable space of the record, with everything from melancholic violins to brass ensembles and dueling glockenspiels adding to the mix, but at the epicenter stands the indomitable and unwavering force of Miss Houghton and her sugary-sweet voice. Whether accompanied by a slew of orchestral counterparts or bearing the pressure of the stage alone, the vocals ebb and flow, dillying and dallying confidently and without flaw. Opener 'Sweet Tooth Bird' showcases the LP's more celebratory side, with BJH's layered vocals drifting atop a continuously compounding musical backdrop amidst trumpet fanfare and spacey, Gaga-esque breakdowns. It almost goes without mentioning how much of a treat lead single 'Dodecahedron' is, starting only with the humble pair of Houghton and her guitar but building into a raucous, full-fledged, and fanciful finish.

Despite its immediate like-ability, Yours Truly, Cellophane Nose suffers where such avant-garde endeavors before it have done the same. A general lack of transitions between songs accounts for some serious disjointed-ness within the record's thirty-four minute playtime, and unfocused songwriting on Houghton's part leaves some of the tracks feeling more like a dress rehearsal than part of the finished product. Still, the album offers an interesting and compelling enough compilation of sounds to keep its minor faults at bay. Songs like 'Night Swimmer' or 'Carousel', with their peculiar but tempting uses of melody and tempo changes, present a product worthy of multiple listens, and that seems to be all that Beth Jeans Houghton & The Hooves of Destiny are really asking for. All in all, Yours Truly, Cellophane Nose is the product of a band with some refreshingly quirky ideas on the production of music, and one that sets Miss Houghton as a force worth keeping and eye on in the future.

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Tracklist:
1. Sweet Tooth Bird
2. Humble Digs
3. Dodecahedron
4. Atlas
5. Night Swimmer
6. The Barely Skinny Bone Tree
7. Liliputt
8. Veins
9. Franklin Benedict
10. Carousel
11. Prick AKA Sean (Bonus Track)

Eli's Best Extended Plays of 2011

2012-02-10T19:09:00.006-05:00

I know, I know. I'm a bit late to the party, especially considering I wasn't even going to talk about last year's EPs. But in revisiting some of 2011's best extended play records, I could not sit idle by without telling everyone how exceptional last year was in regards to high quality EPs. If you haven't picked any of these up, it goes without saying that they come highly recommended, and make for great listens before 2012 really heats up. So, without furth ado...
Olafur Arnalds - Living Room Songs:

Without a doubt the most affecting release of last year. I've been a fan of the Icelandic composer for quite some time, and it's been a joy hearing him improve with each release. Bringing out the keys and strings more than ever, Arnalds creates some of the most beautiful and evocative pieces in his career, all without sacrificing the lovely minimalism he's always displayed. The EP is painfully gorgeous, and expands upon 2010's ...And They Have Escaped the Weight of Darkness in every possible respect. This is a record not to be missed.

For Fans Of: minimalist compositions, post-rock, classical

Trophy Scars - Never Born, Never Dead:

If it is at all possible to wear out an MP3, then "Never Dead" is going the way of the dodo at this rate. I've listened to the track more times than I care to admit, and through all of that, I keep returning. This comes as no surprise considering the band has always been able to craft some of the most engaging music out there. Utilizing their typical bluesy post-hardcore sound, Trophy Scars have made a record that as adventerous as it is comfortable. This is the same band that's given us instant classics such as Bad Luck and Darkness, Oh Hell, albeit in a much more hopefully light. The record feels more uplifting and bright, something that may come as a surprise to longtime fans. And while there is no direct ranking in this little EP list, Trophy Scars is definitely the de facto EP you should check out if you haven't already. Get it, love it, and wear it out just like me.

For Fans Of: post-hardcore, experimental rock, alternative rock

Mogwai - Earth Division:

Despite my unhealthy love of all things post-rock, I consider myself to be one of Mogwai's biggest detractors. Oh yes, one of the genre's founding bands is not beyond reproach. Frankly, they've been on a downward spiral for years now (see everything post-Mr. Beast), so it came as a huge shock when I first heard their latest EP. It's fresh, beautiful, and a different kind of entity when looking back at the band's discography. Featuring vocals, strings, and shorter songs, it's a digestible album that doesn't see the band's misplaced ambitions getting the better of them. The EP is a delectable little recording that gives me hope for Mogwai's future, and is easily one of 2011's best post-rock releases.

For Fans Of: post-rock

Cynic-Carbon - Based Anatomy:

By now the story of Cynic is written in stone. An offshoot of legendary death metal band, Death, Cynic went on to release a genre defining record only to disappear for 15 years before dropping the land mark Traced in Air. However, what was so shocking about their 2008 release is even more shocking about their 2011 EP: there's no metal. Well, almost. Cynic have stripped away every ounce of death metal save for some great riffs. And while this may perturb long time fans, the extra emotional weight present on the record is welcome. The robot vocals are gone as well, and the entire package feels much more personal. This is the human side of the band we haven't been treated to, and it's well worth checking out.

For Fans Of: Progressive rock/metal, experimental

Circle Takes the Square - Rites of Initiation:

Does everyone remember when Circle Takes the Square said they'd release their unbelievebly anticipated follow up 2003's As the Roots Undo by December? You Know, December of 2011? Well I do. Thankfully, however, I still have the excellent Rites of Initiation to hold me over till, well, whenever they decide to release the album. The EP is the first part of said album; a ferocious reminder of why all respects need to be paid to a band who quietly revolutionized the genre almost a decade ago. It's dark, it's heavy, and it's 100% CTtS. And really, that's all we truly need.

For Fans Of: emo, hardcore

Album Review: Foxy Shazam - The Church of Rock and Roll

2012-02-10T18:32:00.002-05:00

Album Rating: B

After years of watching the band go through what can only be described as an unnatural progression, I've come to realize that I hope Foxy Shazam never, ever changes. The glitz and glam of the once post-hardcore unit has become a delight to hear across the past two albums: a bold and impressive meshing of classic rock with modern aesthetics. And For those worried that lead singer Eric Nally and co. would tone things down, rest assured, The Church of Rock and Roll is just as flamboyant and bombastic as one would expect...and hope.

The Church of Rock and Roll has all the makings of a great Foxy Shazam record, and in some respects is the band's greatest outing to date. Not only showcasing the band's ability to stand out amongst the crowd with pitch-perfect instrumentation and absolutely stunning vocals, the album also doubles as a wonderful step in the right direction in regards to songwriting. There's a wealth of great variation to be found. Between the explosive anthemic "The Streets" and the personal and mellow "Forever Together," listeners will find something to fall in love with.

A lot energy goes into describing the particular sound Foxy Shazam has, especially he vocals. Eric nally could best be described as the modern rocker's take on Queen's Freddie Mercury. Touting the same energy and skill as the late singer, Nally has been a constant in the band, and a continous pleasure to hear. But the rest of the band does not stand by and let him hog the limelight, as each member is rather skillful themselves. Excellent riffs and guitr solos are everytwhere on The Church of Rock and Roll giving it a decidedly "fun" vibe, even during its more introspective moments.

Foxy Shazam have hit another one out of the park with their latest release. The infectious and rocking tunes that fill the album are some of the best in the band's entire catalogue, and should be a welcome addition to anyone's collection.

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1. Welcome to the Church of Rock and Roll
2. I Like It
3. Holy Touch
4. Last Chance At Love
5. Forever Together
6. (It’s) Too Late Baby
7. I Wanna Be Yours
8. Wasted Feelings
9. The Temple
10. The Streets
11. Freedom