Muzik Dizcovery

Album Review: The Minutes - Marcata

2012-02-02T11:26:00.004-05:00

Album Rating: B

Last summer, in the midst of a lull during the second day of Leeds Festival, I found myself wandering between tents looking for a band to pass the time with before the Deftones took to the main stage. After a few unsuccessful attempts, I finally wound up on the tiny BBC Introducing Stage, on which a little known Irish trio called The Minutes were busy making a name for themselves. I wouldn't go so far as to say that they were the best band that I saw that weekend, but they were by far the loudest, and if nothing else that ensured that the bluesy rockers made quite an impression. Now, almost six years since their formation, the Dubliners are finally unveiling their debut LP, and the biggest compliment that I can give is that it fully lives up to such raucous showings.

Instrumental in this success is Kevin McMahon, the man behind the mixing desk. The producer, who has also worked with the likes of The Walkmen and Titus Andronicus in his time does a simply marvellous job in catching the full-blooded energy and excitement of those live exertions, with a raw, distorted sound proving to be Marcata's defining characteristic. Of course, the band themselves are also deserving a hell of a lot of credit, as they provide some mighty fine moments which are complimented by McMahon's contributions. Their sound isn't too hard to describe - just think The Black Keys at their most direct, with everything turned up beyond eleven and thus rocking twice as hard - and on the vast majority of the record they utilise it to blitzing effect.

This is particularly true of the first half, which sees the trio come out all guns blazing with some of the most purposeful and plain rocking songs in their canon. Past singles 'Fleetwood,' 'Black Keys' (coincidence? I think not!) and 'Secret History' are all among the highlights, as is 'Gold,' which provides perhaps their most melodically satisfying moment. By comparison, the second half sees them lose a little bit of steam, but there is an excellent late standout in the shape of 'I.M.T.O.D.' while the record's 35-minute run time ensures that it never threatens to drag, despite that noticeable tail-off in standards.

Even so, it's the rip-roaring first half that deservedly draws most of the plaudits. Indeed, in taking so long to reach this stage of their career, the band have perhaps honed in their sound to an optimum level, resulting in such enthralling highlights and a rock-solid record as a whole. All of their tricks have been done before, but in Marcata The Minutes have created a refreshingly bullshit-free rock 'n' roll album with a clear goal that it achieves with plenty to spare. Maybe subsequent releases will see them do a little more to expand their horizons, but for now they're sticking firmly to what they know, and on this evidence they're all the better for it. Oh, and for the record, I enjoyed their live set a hell of a lot more than the Deftones.

You can stream Marcata here.

Facebook
Myspace
Official Website

Tracklist

1. Monster
2. Black Keys
3. Gold
4. Fleetwood
5. Believer
6. Secret History
7. Indian Wings
8. Black And Blue (A Letter)
9. Heartbreaker
10. Guilt Quilt
11. I.M.T.O.D.
12. Monsters

Album First Look: Cursive - I Am Gemini

2012-02-01T20:07:00.001-05:00

Honestly, the thing that stood out the most to me when I first received and listened to Cursive's brand new album I Am Gemini was the way the lyric booklet was organized. All the lyrics for the album were organized in the manner of a Shakespearian play, with character dialog, acts, scenes, and even stage directions. That should simply give a little insight into what the band planned for I Am Gemini. It's an epic story, and the full effect of the album can not be felt without the organization of the liner notes. However, the music throughout the record is extremely impressive. You can feel the story progressing through the music, such as the demonic entrance of the guitars in opening track "This House Alive", the circus-like synth lines in "Twin Dragon/Hello Shadow", and the explosively spastic guitars in "A Birthday Bash". This is an album that is a necessity to have a physical with, because the organization of the story can not be understood without the plot placed in front of you. Without them, the album goes from creatively groundbreaking to merely another great Cursive record, which I'm sure plenty of people are definitely excited to hear. I Am Gemini is released on February 21st, and you can follow the band's activities on their Facebook page here.

Album Review: Lana Del Rey - Born To Die

2012-02-01T14:21:00.000-05:00

Album Rating: D+

Here at Muzik Dizcovery HQ, our briefing from noble leader King Casey is to provide coverage to artists that we support, whether they be major or unsigned, stadium-fillers or buskers. Little more than a week ago, those were criteria I felt absolutely certain that Lana Del Rey would fit into, but now that Born To Die has finally dropped I'm not so sure. The reasoning behind the initial enthusiasm is obvious, what with 'Video Games' being among the finest singles in recent memory and successors 'Off To The Races' and 'Born To Die' doing little to curb anticipation. Everything seemed set for the 25-year old's major label debut to rank among the highlights of 2012 - certainly in the pop calendar - but instead we have a situation where it's a front runner for the biggest disappointment gong.

I could waste hundreds of words gushing about the sheer splendour and cultural impact of 'Video Games,' but I suppose you're all sick of hearing about that now. More to the point, though, that and the other two aforementioned singles are the best songs on Born To Die by an almost embarrassing margin. Forget all of the issues regarding authenticity and writing credits, it couldn't be more obvious that these songs have been hurriedly conceived with a view to capitalising on the buzz that those singles created, and as a result the gulf in quality is gaping. It doesn't help that the album is so front loaded. Those three singles (along with notably lesser companion 'Blue Jeans') all appear within the first four tracks, so while proceedings get off to a good start the slide from then on in is both steep and prolonged.

Of the eight remaining cuts, 'Radio' is perhaps the only one that could be categorised as passable, with the rest ranging from below-average to down right pathetic. 'National Anthem' is an obvious target, with it's attempt at glorious unity bombing spectacularly, but sadly it's far from being the worst offender here. 'Carmen' and 'Million Dollar Man,' for instance, are shockingly feeble, offering next to nothing in the way of effective hooks and finding the singer crooning along devoid of both purpose and personality. In truth, her vocals are far from convincing throughout the majority of the record, and they certainly aren't strong enough to carry such poor songs. It's a flaw which proves fatal given that that seductive purr is arguably the most appealing attribute on show here - certainly more so than the insipid overproduced beats or the tiresome oversexualised lyrical themes.

No matter how serious Born To Die's problems, nothing can detract from just how wondrous it's best moments are. It's a shame then that they'll probably be forgotten in the midst of negativity that this album will give rise to, but by and large they're all self-inflicted wounds, so it's hard to feel much sympathy. The enduring brilliance of 'Off To The Races,' the title track and especially 'Video Games' means that Lana Del Rey is an artist who should retain our support, but ultimately this is an album which flops just as badly as all those hipster's dicks when it emerged that she may (or may not) have gone under the knife.

Facebook
Myspace
Official Website

Tracklist

1. Born To Die
2. Off To The Races
3. Blue Jeans
4. Video Games
5. Diet Mountain Dew
6. National Anthem
7. Dark Paradise
8. Radio
9. Carmen
10. Million Dollar Men
11. Summertime Sadness
12. This Is What Makes Us Girls

Album Review: Kurt Travis - Wha Happen?

2012-01-31T16:45:00.000-05:00

Rating: A-

Kurt Travis has been on a bumpy ride the past few years. Getting scooped up as the replacement for Jonny Craig in Dance Gavin Dance for two albums, Travis was dropped as suddenly as he was hired. The pathetic drama that Travis was not even allowed to participate in aside, Travis found himself without a job, eventually to become the vocalist for another Sacramento band, A Lot Like Birds. However, in the void of time between acts, Travis recorded various solo tracks, many of which made their way onto his now defunct bandcamp. After the release of his debut with A Lot Like Birds, Travis took it upon himself to put together some of these songs as well as a few unreleased tracks for an EP titled Wha Happen? The EP is released through Doghouse Records on January 24th and is quite an experience.

Wha Happen? is a diverse release, a set of songs of differing styles and influences. However, it is surprisingly easy to generalize about the EP. The opener is aptly named ‘25 New Ways to Regress,’ a title that is very reflective of Travis’ attitude throughout the effort. He is self-serving in his depression and regret, but he maintains a bit of humor and optimism in his approach. Travis’ vocal delivery is emotional and impactful, his talent undeniable. However, he occasionally botches notes that are clearly within his range. They are also present in the musicianship and the questionable production. These intentional mistakes become a central characteristic of the release. However, they are not done in a hipster fashion, they are honest and are of great benefit to the release.

Each song conjures up vivid images in my mind. ’25 New Ways to Regress’ is a picture of a small suburban house in California with a tilted pink flamingo in the yard during a late summer afternoon. ‘Wha Happen?’ is a picture of a young man sitting alone on an empty beach with a cool breeze and autumn in the air. ‘How Are Things’ is a picture of a boy sitting in a canoe in a lake in Maine on a bright summer afternoon. ‘Let’s Remember Time’ is a picture of Travis and a few of his strange friends at a run-down local bowling alley. ‘My Favorite Thing’ is some ridiculous trip on a drug that is impossible to describe. ‘Time to Make a Plan, Not Getting Younger’ is a drive through a wooded area on a small winding road in the middle of the night during the winter. The repetitive themes found in these images summarizes the emotions Travis poured into these songs with great clarity.

Though a bit unprofessional at times, Wha Happen? has incredible depth, offering a glimpse into the mind of an incredibly talented musician lost at sea in treacherous waters. For some reason, his struggle really clicks with me. I hope Kurt doesn’t end his solo efforts here, as I think he has much more to share with us.

iTunes

Track List:

1) 25 New Ways to Regress

2) Wha Happen?

3) How Are Things

4) Let's Remember Time

5) My Favorite Thing

6) Time to Make a Plan, Not Getting Younger

Album Review: Rabbit Troupe - Treasures Are Miniscule

2012-01-31T15:41:00.003-05:00

Album Rating: A-

Lately I have come to a conclusion that there is no better genre of music than dirty, loud, and catchy punk. It can easily channel any emotion just as good as any other genre of music, so why not do it via lo-fi recording techniques and blunt yet honest and effective lyrics? There's nothing that makes recordings more human and relatable than a couple of raw, untampered with tracks recorded in somebody's basement. Everything good about punk and music in general, from songs about heartbreak to songs soundtracking a drunken escapade, is presented in the latest output from New Jersey's Rabbit Troupe, in the form of a dirty fifteen minute EP, Treasures Are Miniscule.

Rabbit Troupe normally has a very Guided By Voices-esque approach to recording, most notably on their contribution to NotRock's latest holiday compilation, the yuletide anthem "Christmas Crunch". But on Treasures Are Miniscule, Rabbit Troupe seems to have gone with a recording style that while still sounding raw and unprocessed, remains consistent throughout the length of the release. But the abrasiveness of Treasures Are Miniscule doesn't keep the clever lyrics and catchy hooks from embedding themselves in your head. For example, the hipster bashing opener, "Paramecium", features crafty Cloud Nothings-esque guitar riffs and an infectious chorus reminiscent of times when Green Day was cool. Rabbit Troupe draws ques from a wide range of influences, such as on the brief but effective track "Books Can Be Decieving", a laid back twee song sounding somewhere between Belle and Sebastian and Yo La Tengo.

Another one of Rabbit Troupe's strong points are their lyrics, such as on the four minute breakup recalling "Spherical Brother". The track is definitely the most personal on the release, featuring lines such as "missionary was not enough to keep things new". But while most of the EP does not feature many tracks detailing anything emotionally affecting, repetitious and catchy lines such as "it's fun to walk around drunk with you" and "we're head to toe to head in this conneticut hell" make the tracks and the often sluggish vocals that much more fun. Treasures Are Miniscule is nothing but fifteen minutes of abrasive, emotionally varying lo-fi rock , and is something that any fan of punk music will be able to enjoy.

Facebook
Bandcamp

Trackist:
01 Paramecium
02 South St. Seaport
03 Excellent Rage
04 Books Can Be Deceiving
05 Spherical Brother
06 Instant Churchill

Album Review: John K. Samson - Provincial

2012-01-31T14:48:00.005-05:00

Album Rating: B

John K. Samson is no stranger to the music world, after all for years he's been a part of a little band called The Weakerthans...maybe you've heard of them? Oh, and not to mention playing for Propagandhi during the 1990's. Yes Samson certainly has had his fair share of time in the music business, but rarely has he displayed his prowess as a solo artist. Sure he's been threatening it with a few releases here and there, but it hasn't been until now that we've been treated to a true full length album.

Enter Provincial, John K. Samson's take on the earthy folk displayed with his main band, taken to the extreme. More important than how it sounds, however, is how it feels. It's not often that we as listeners can observe the subtle emotions of the artist, but Provincial does a great job at creating an emotive piece of music whose atmosphere is unique to Samson. This is where the album excels; a beautiful and touching work that reaches the listener via multiple layers. Instant gratification is here, don't worry, but how much you put into the album is equal to what you'll get back. On its surface is a nice folk record, but underneath is something much more absorbing and evocative.

And while it's great to hear such a personal work, Samson doesn't tear down conventions with his album. Provincial is a straight up predictable modern folk record; acoustic guitar and croons present in every track. That being said, songs "Letters in Icelandic from the Ninette San" and "Grace General" are so well done that its derivative nature won't faze even the most jaded of listeners. Samson knows how to construct a song, and he knows how to do it damn well.

Provincial, for those who have been waiting for John K. Samson to finally release an album indicative of his talents, will prove to be wonderful listen. Samson adds an indelible amount of personality into his record that puts it largely above his contemporaries, with emotions that seem genuine rather than contrived. Provincial is a great listen from start to finish, and a true showcase of a talent that's been evident for years.

Facebook

Track List:
1. Highway 1 East
2. Heart of the Continent
3. Cruise Night
4. Grace General
5. When I Write My Master’s Thesis
6. Letter in Icelandic from the Ninette San
7. Longitudinal Centre
8. www.ipetitions.com/petition
/rivertonrifle/
9. The Last And
10. Stop Error
11. Highway 1 West
12. Taps Reversed

The Daily Blair: New Muzik Monday!

2012-01-30T18:39:00.012-05:00

Today I will recommend you some music that you might not have heard before. We will call it New Muzik Monday! Enjoy!

1. Diagrams - Black Light

Early Rating: B
Check It Out

Black Light is the most fascinating album I have listened to this year. The album is fascinating because it tries to do just about everything: it tries to be an album you can dance to and an album you can cry to, it tries to be an album that is mainstream while be an album that is groundbreaking, it tries to be MGMT while still being U2, it tries to be aggressive while still being graceful, and it tries to be everything without really ever tying itself down to one particular idea, structure, or genre. Black Light essentially tries to be everything while being nothing at the same time. Even though this idea may sound impossible and illogical, Diagrams are able to pull off on songs like "Black Light," "Peninsula," and "Night All Night." On these songs the band is able to combine many influences (they are able to combine the aggressiveness of MGMT with the awareness of U2,) they are able to have a mainstream sound that could still pass as indie (think Foster The People,) the songs are free (do not really have a particular structure, do not stick to one idea, and could not be classified under one genre,) and the songs are really catchy and have great instrumentation. On other tracks though the Diagrams music sounds like a total mess and it sounds like the band is trying to accomplish a little too much. Still something you should definitely check out.

2. Fay Wolf - Spiders

Early Rating: B+
Check It Out

Fay Wolf is one of the more versatile female artists I have heard in a long time. Her music seems to be a perfect combination of the "largeness" of Florence + The Machine, the catchiness of First Aid Kit, the radio pop feel of Rihanna, and the wit of the Dum Dum Girls. The album is also incredible honest lyrically but every song still sounds completely different. The beautiful opener "The Thread of this Thing" sounds like one of the softer songs on The Lion's Roar, "Mine" sounds like a poor man's version of "What The Water Gave Me," "Black People" could easily be confused for one of the Dum Dum Girls better songs, and "In The Way" sounds like a ballad we would hear on a Rihanna album. This is a versatile female artist who deserves more attention.

3. Ball Park Music - Happiness and Surrounding Suburbs

Early Rating: B-
Check It Out

Ball Park Music are a kinky Australian combination of the artists that influenced fun.'s Aim and Ignite, the sarcastic social commentary that made Andrew Jackson Jihad's Knife Man such a fascinating masterpiece, the endless poppy energy that made me fall in love with Say Anything's self titled album, and the vocals that we would hear on a Matchbox Twenty album. This makes the album a very interesting and very "fun" pop-punky album. The album somehow combines the never ending joyful sound of Queen, the Beach Boys, fun, and Matchbox Twenty with the cynical angry sound of Say Anything, Andrew Jackson Jihad, and blink-182. When the album puts all of these influences together it is an absolutely brilliant album.

4. Sister Crayon - Bellow

Early Rating: B+
Check It Out

Sister Crayon is capable of making absolutely breathtaking music. That is why this is at least worth a listen.

AND OF COURSE

5. First Aid Kit- The Lion's Roar

Early Rating: Orgasmic
Check It Out

I don't want to get fired.

Album Review: And The Giraffe - Something For Someone (EP)

2012-01-30T17:19:00.005-05:00

EP Rating: B

Considering that he's released a pair of undisputed masterpieces and established himself as something of an alternative icon over the past four years, the lack of young bands willing to follow Justin Vernon's lead seems somewhat curious. Yes, the luscious and dreamlike folk that the Bon Iver mainman purveys is of the very highest order in both it's taste and it's sophistication, but that doesn't usually stop hordes of newer acts taking cue from the latest musical phenomena. No matter the reasoning, the relative lack of similar artists has meant that those that do exist haven't found their way blocked by saturation, and it's because of that that bands such as And The Giraffe sound genuinely refreshing rather than like tiresome also-rans.

Let's get one thing straight; dismissing Nick Roberts and Josh Morris - the band's collective masterminds - as Bon Iver copyists would be well short of the mark. Their brand of solemn, cinematic folk music treads very much along the same lines, but there are a number of marked differences which could see them forge a distinct sound in their own right. In fact, a superior point of comparison for this debut EP would probably be Iron & Wine, firstly due to the relatively upbeat nature of their music and secondly due to the fact that both members possess effortlessly chilled voices not dissimilar to Sam Beam's, attributes which suit their style to perfection.

In all honesty, one could go so far as to say that the sound they've crafted on Something For Someone is virtually flawless, with the only real weakness lying in the actual songs that they've composed. None of them are bad per se, but too often they simply pass by without making much of an impression, usually the result of either a lack of genuine hooks or cohesive structure - though opener 'Underground Love' does provide a notable exception. It sounds like a pretty big drawback, and it's no doubt an element that you'd want them to polish up in the future, but in the grand scheme of things it fades to insignificance when you consider how much the duo have achieved in other areas of this release.

Indeed the discipline required to make this type of music successfully is scarce even among most established acts, so the gusto with which And The Giraffe pull it off is nothing short of sensational. It's true that for the moment at least their vibe is a lot more enjoyable than their actual songs, but there's blatant talent here from which great things could conceivably arise. "We're gonna be big stars some day" sings Morris on closing track 'Still,' and if the pair can establish an upward trajectory there seems no reason why that lyric can't ring true in the future.

You can download Something For Someone (name your own price) or purchase it physically on And The Giraffe's Bandcamp page.

Facebook
Myspace
Official Website

Tracklist

1. Underground Love
2. 1055
3. Welshrats
4. Magic 8
5. Masquerade
6. Still

Artist Spotlight: Vocal Few

2012-01-29T22:06:00.000-05:00

Sometimes it seems that people are brought together simply so they can make beautiful music together. Matt MacDonald is known for making rock music with The Classic Crime, but working with his wife Kristie on The Vocal Few may have given us some of his best music. A dramatic departure from The Classic Crime, Vocal Few is simply guitars, keys, and absolutely stunning harmonies between the two lovers. Kristie's angelic voice fits perfectly with Matt's unique timbre, and She'll Be Right is probably the pinnacle of his singing career. While this EP was mostly created in order to assist in raising their brand new child and Matt still has The Classic Crime to focus on, hopefully there will be more Vocal Few releases in the future. It'd be best for the couple to do so, as Vocal Few easily has the potential to gain a following greater than that of The Classic Crime. The pairing between lovers is just too perfect.
She'll Be Right is currently available for streaming and purchase on the band's Bandcamp page, which you can find here.

Album Review: A Loss for Words/Such Gold - Split

2012-01-28T15:30:00.004-05:00

Rating: B-

A Loss for Words and Such Gold come together for a 7" split through No Sleep and Mightier Than Sword Records. Though short, the release is great fun with a polished sound but a local band feel that fans of pop punk will definitely enjoy jamming out to.

A Loss for Words’ half of the split is energetic and pretty catchy. Though extremely chord driven, they do incorporate an acoustic guitar into their repertoire alongside the distorted lead guitar that feels organic and refreshing. The lyrics are pretty generic but A Loss for Words isn’t known for great poetry. Poppy and fun, A Loss for Words’ side is easy to listen to but doesn’t keep me coming back for more.

Such Gold’s half is much more interesting, featuring much more deviation from generic pop punk themes. Definitely flaunting their hardcore influence, vocalist Ben Kotin mixes a hardcore shout into his semi-melodic approach in an enjoyable fashion. The group really works themselves into furious jams during the bridge of “Scoreboard” and the end of "Backyard" that are exciting and memorable. Bringing the heat with some creativity but still maintaining an upbeat attitude, Such Gold provides a nice spectrum of vibes for the listener.

The production of the release is really crisp and professional sounding. Both sides are mixed similarly which makes the “7 feel cohesive rather than just two different bands on one release. The tones on Such Gold’s side are particularly enjoyable. The gain on the guitars works really well for both the lead lines and the crunchy chords. Ultimately, the split is a short and shallow but very entertaining effort that’s definitely worth a few spins.

Track List:

Such Gold

1) Scoreboard
2) Backyard

A Loss for Words

3) America Needs a New Sweetheart
4) Thomas vs. Loungo

Such Gold
A Loss for Words

Album Review: Red Orchid - Blood Vessels & Marshmallows

2012-01-27T15:46:00.010-05:00

Album Rating: C+

Sanmeet Sidhu is the driving force behind Red Orchid - an experimental band, if anything. Red Orchid works on ever expanding their genre base, drawing influences from everything to progressive rock to post-rock, and stopping at quite a few good (and a few not so good) places along the way. The full-length debut fully shows each genre Sidhu borrows ideas from. However, the way he goes about it is both the best and worst part of the album. Although a creative idea to mash each of one's favorite genres into a unique musical sound, there's too much blending of ideas into Blood Vessels & Marshmallows, to the point of muddling the core of the album into too many different strains to follow.

The opener on the album is the eponymous track on the album, and it sounds like the bastard child of Mastodon and Steven Wilson, with the added stale flavor of some synthesized strings towards the end. The actual song isn't that bad: it opens with some really interesting synth work, but that quickly fades into a single guitar, throwing out a decent but repetitive riff. Once the drums start, though, the riff tries to embody a psychedelic feel to the point of headache inducing, like "Blood Mountain" restricted to the very basic, least-metal riff possible. Part of the saving grace of this song is Tom Dupree's technical perfection on drums, which at least helps the song flow along smoothly. Once the song's distorted jam hits a stop, with a reverbed guitar gently fading into those flat-sounding strings, the song hits a gentle respite, but sadly tries to force itself onto the listener for slightly too long, needing a fadeout probably thirty seconds or so before the song itself actually ends.

The seventh track on the album, "White Mist, Black Widow" is one of about half of the tracks that helps salvage this album to the point of where it stands review here on Muzik Dizcovery. The beautiful effects of this post-metal ballad bring it to soar above other tracks embodying a halfway effort of psychedelia and metal, with a fantastically heavy jam towards the middle, synths blazing and adding a colorful haze of individuality over a grinding breakdown. Here, Sidhu and Dupree have a perfect chemistry on their instruments, the progressive time being one of the most forefront characteristics of this tune, and really bringing out some amazing qualities of the track. It's a perfect blend of post-metal and prog, the guitar tones line up so that it feels oppressive but also airy at the same time, and all of these great qualities comprise a remarkable tune that is to be desired for the first couple of tracks on the album.

The first half of this album was really, really not my cup of tea. The larger composition of psychedelic is clearly not my favorite, and it happens to show up quite a lot on the first five or so tracks. However, once "Bitter Hands", the sixth track, started playing, I was enthralled. I had just about given up on the album, and it had brought new life to my listen. The next thing I knew, the album was over, and I had nearly forgiven all that had been wrought of the first half. In short, the genre-experimentation had been fantastic towards the end, but the beginning felt dizzying, unrefined, and lackluster. There definitely is some fantastic music on this CD, though, which is why I haven't written it off completely. If you're very open minded about music, I would absolutely recommend this - it's probably my own personal taste that causes me to abhor the certain blend of chords and changes that Sidhu so dearly embraces within the first few tracks. All in all, though, an interesting work to say the least. Maybe we'll see better from Red Orchid in the future.

You can actually download Blood Vessels & Marshmallows for free on Red Orchid's Facebook.

Track Listing:

1) Blood Vessels & Marshmallows
2) Release
3) Glass Woven Yarn
4) Silent Train
5) Astronomicon
6) Bitter Hands
7) White Mist, Black Widow
8) Drown With Me
9) Flabbergast Butterfly
10) Let Go; Jenni

Album Review: Jenny Hval - Viscera

2012-01-26T23:25:00.003-05:00

Album Rating: A-

File under "Albums I wish I would have paid more attention to last year." There's really no denying that Jenny Hval's Viscera should have not only made my end of the year list, but others' lists as well. And sure, maybe too much stock is put into "The List," especially from self-proclaimed music critics such as myself, but recognition of an artist's work goes a long way in regards to promotion. And believe me, this girl needs--and deserves--all the promotion she can get because Viscera is one of the freshest and most intriguing albums I have heard in a long, long time.

Viscera is indie/folk turned on its head; a near undefinable record that is as shockingly introspective as it is daring and engaging. Armed with her guitar and voice, Jenny Hval stuns with a sense of ingenuity rarely seen in today's music. It's thematically dark and winding, with an overall tone of mystery. But the depths of Viscera are more daunting upon further listens, as the record is stunning in its scope. While it may appear on the surface to be a very minimal indie record, it becomes clear that there's more than meets the eye. Hval is a master at layering sounds, giving the album a grander, more epic feel than one would think. Her songwriting is incredible, as each of the tracks vary wildly from one another, with surprises around every single corner.

There are moments in music where I preemptively think, "if they would just hit that one note or chord, that would be perfect." Typically this wish is usually a simple pipe dream. However, every moment that nears perfection on Viscera actually acheives the desired greatness. Some of Hval's vocal melodies are heart-wrenchingly beautiful, and her minimalist approach to instrumentaion is typically spot on. Rarely does she disappoint, with each and every second being used for something, whether it be melody or atmosphere.

As cliche as it sounds, it's difficult to describe Viscera to someone who has not yet heard it. In all sincerity, it is something that needs to be heard, rather than read about. Plunge head first into the murky depths of this album, and discover a bold new talent in the making.

Facebook

1. Engines In The City
2. Blood Flight
3. Portrait Of The Young Girl As An Artist
4. How Gentle
5. A Silver Fox
6. Golden Locks
7. This Is A Thirst
8. Milk Of Marrow
9. Black Morning / Viscera

The Mars Volta - Noctourniquet

2012-01-26T23:03:00.003-05:00

Although news articles and artist spotlights are supposed to be impartial, I cannot help but express my unfathomable excitment after hearing about the latest from my personal favorite band, The Mars Volta. The last we heard from them was in mid 2009 when they dropped their fifth album, Octahedron, which was seen as their "acoustic album," although there was little acoustics used. Since then the band has been mum on a release, aside from their typical "we've had our new album written for years!" schtick that continues to be more difficult to believe. Yet here we are, three years later, and The Mars Volta have finally revieled details concerning their sixth album, Noctourniquet.

Not a whole lot is known about Noctourniquet, save for the track list, release date, and album cover. And while that information would be enough coming from any other band, one cannot predict what The Mars Volta will do next. They could reinvent pop, delve further into electronics, or even do death metal--there really is simply no way of knowing. One could speculate, but chances are it would miss the mark. After all, the jazz infused prog rock of Frances the Mute and De-loused in the Comatorium are a far cry from the alt-rock stylings of Octahedron.

My anticipation, interpreted by Cedric Bixler-Zavala himself

Yet it's the glorious uncertainty that always makes each release special; a fresh and exciting revelation that the listener is truly being treated to something new. Noctourniquet drops on March 27th, and is definitely something to keep on radar.

Tracklisting:
1. The Whip Hand
2. Aegis
3. Dyslexicon
4. Empty Vessels Make The Loudest Sound
5. The Malkin Jewel
6. Lapochka
7. In Absentia
8. Imago
9. Molochwalker
10. Trinkets Pale Of Moon
11. Vedamalady
12. Noctourniquet
13. Zed And Two Naughts

Album Review: Matt Elliott - The Broken Man

2012-01-26T19:34:00.000-05:00

Album Rating: B+

2012 has, by this writer's estimation at least, been a bit slow out of the blocks, but one thing that can't be argued with is that folk music has gotten off to a flyer. This week has seen the release of Swedish sisters First Aid Kit's stunning sophomore The Lion's Roar to virtually universal acclaim, and although it's passed somewhat under-the-radar by comparison, the same could be said of the new album from Bristol singer-songwriter Matt Elliott. I'll be honest, I don't profess to have much (if any) in depth knowledge regarding Elliott's expansive discography, nor that of The Third Eye Foundation, the electronic project that he was formerly involved in. I could fake omniscience, but I'd be made to look like a fool by someone who actually does know their stuff, so this review is very much from an outsider's point of view. What I can make clear, however, is that on The Broken Man his brand of "dark folk" works a treat, and makes for a record that's constantly rewarding and occasionally spellbinding.

There's not really any point in discussing the ins and outs of Elliott's sound, because at the end of the day that dubious genre - "dark folk" paints a clearer picture than any overly elaborate explanation. In simple terms, it's how you'd imagine Pink Moon-era Nick Drake would sound, had be possessed a baritone and incorporated some of the psychedelic wanderings and Gothic overtones of Mark Lanegan. Sparse and cold, yet deep and beautiful, it's a record which revolves overwhelmingly around the singer's voice, and despite it's initial blankness there are moments when it can prove utterly spine-tingling. Nine-minute highlight 'Dust Flesh And Bone, for instance, carries with it a real sense of sorrow, with Elliott's wistful mourns of "this is how it feels to be alone" providing a staggering emotional punch that's genuinely unsettling. Such an extended run-time may seem a little much, but it's never less than captivating, and even so is far from being the most sprawling track here. 'If Anyone Tells Me' clocks in at thirteen minutes, with opener 'Oh How We Feel' not far behind at twelve, and it comes as no surprise that these cuts stand as the record's unmistakable centerpieces, with most of the other tracks seemingly concieved to fit around them.

This gives rise to a seamless sense of cohesion throughout - an improbable feat given that many of these songs seem to lack a recognisable structure. Indeed this complaint could be viewed as The Broken Man's primary weakness, but truthfully it pales into insignificance when moulded the record's perennial intensity and unlikely flow, two features which reign supreme from the off. How does it compare to the rest of Elliott's works? I obviously couldn't tell you, but if nothing else it's convinced me to delve into his back catalogue in search of further delights. For now, though, this thoroughly excellent record is more than enough to get by with, and although it's one that requires a certain frame of mind to enjoy it'll no doubt find itself on my playlist for the rest of 2012, and potentially beyond.

Facebook
Myspace
Official Website

Tracklist

1. Oh How We Feel
2. Please Please Please
3. Dust Flesh And Bones
4. How To Kill A Rose
5. If Anyone Tells Me...
6. This Is For
7. The Pain That's Yet To Come

Album Review: Spanish Prisoners- Gold Fools

2012-01-25T18:30:00.019-05:00

Album Rating: B+

You always know what you want to be but you never are actually willing to become that person. The person who wants to have Spartan Abs for the New Year only goes to the gym for one day, the person who wants to recommit themselves to a religion gives up after one bad day, the Dad who is trying to become a better father gives up after he realizes that alcohol still exists, and the kid that says he is going to get better grades gives up after he realizes how hard it is to be a good student. You want to Brad Pitt until you realize being Brad Pitt requires taking the stairs, you might want to be Billy Graham until you realize that being Billy Graham requires trading your scarlet letters in for red letters, you might want to be a boy genius until you realize that you have to open a textbook, and you might want to be Bill Cosby until you realize that you have an absolutely awful Bill Cosby impression. We will always strive to be someone new but it is rare that we actually change into a new person because changing oneself requires work. Change is always on paper or up to perception instead of being seen in the eyes of other people.

In a weird way I think artist are the same way about their music. The band that says they are going to release an album that is like a better version of their best album from ten years ago is probably going to release a mediocre version of their last album, the band that says they want to make an album that sounds like an arena rock version of their best album ends up releasing Anarchy, My Dear, the band that says they are going to complete change their sound ends up sounding exactly the same, and the band that says they are "aiming for the stars" often times ends up laying on the ground. I have always thought that bands want to accomplish these things but they get distracted. The band who cannot make the epic double album settling for something less is just like the person who only workouts three days a month, the band who cannot make the arena rock album settling for something less is like the kid who settles for mediocre grades into of working hard and making the Honor Roll, the band who says they are going to completely change their sound staying the same is just like the deadbeat Dad, and the band that says they are "aiming for the stars" getting the grass is kind of like the guy giving up his faith in the earlier example. In music we also see the difference between striving and changing and the difference between wanting to feel accomplished and actually accomplishing something.

This is why when a person or a band turns this desire into actual results we find ourselves in a state of elated shock. We are surprised and happy that Jim lost sixty pounds, we are surprised and happy that Bill became a better father, we are surprised and happy that Candice became a better Monist, we are surprised and happy that Little Jimmy made better grades, and we are surprised and happy when Blair actually writes a short introduction that makes sense. This elated shock also applies to music: when the band releases an awesome double album we are happy and surprised, when the band releases an album that sounds like their classic album from ten years ago we bang our head and pump our fists, and when a band changes their sound completely we awkwardly chest bump all of our nerdy friends. As decent people, we are generally happy when a person or a group of people works hard and accomplishes one of their lofty goals. Actually I think accomplishing life goals or turning into someone else is easier than accomplishing musical goals. There is no treadmill or Bible to help you create the album you have always wanted to create. You have to have an album that realizes all of your influences, an album that has great lyrics, an album that has magnificent instrumentation, and an album that has a lot of good songs. Making the album of your dreams is harder than dreaming of losing a few pounds. What makes the Spanish Prisoners Gold Fools so impressive is that by realizing their influences, writing great lyrics, having great instrumentation, and making tons of good songs Spanish Prisoners created an album that probably exceeded whatever lofty expectations they had for the album.

The first thing that makes the album memorable is that the Spanish Prisoners not only realize their influences but are also to use these influences in just about every song. The Spanish Prisoners probably wanted to created an album that had the atmospheric and moody instrumentation of Deerhunter and Sigur Ros, an album that had the "America In The 1980's" feel of Destroyer's Kaputt, the album that had lyrics that just about anyone could relate to and question at the same time, and an album that had the vocal stylings of Peter Bjorn and John. So instead of settling and not using any of these influences, Spanish Prisoners created an album where every song sounded like an awesome combination of Deerhunter, Sigur Ros, Destroyer, and Peter Bjorn and John. The album is atmospheric yet witty, the album makes you feel like you are on drugs yet has lyrics and moments that are so sobering, the album flows together without feeling forced, and the album is apathetic yet aggressive in nature. The impressive thing about Gold Fools though is that the band where able to use these influences in just about every song: "Los Angeles Guitar Dream" sounds like an combination of "Nothing To Worry About," "Little Kids," "Chinatown," and "Festival," "Know No Violence" sounds like a softer version of "Young Folks," has the feel of "Song For America," and has lyrics that remind me of "Nothing Ever Happened," "Cadillac From Yesterday" reminds me of a combination of "Kaputt," "Objects of My Affection," "Agorphobia," and "All Allright," and finally "Slow Decay" sounds like a combination of "Poor In Love," "Staummes," "Second Chance," and "Twlight At Carbon Lake." Spanish Prisoners create their "dream album" by combining the feel of Kaputt, the instrumentation of Sigur Ros and Deerhunter, and the vocal and lyric stylings of Peter Bjorn and John on just about every track.

Spanish Prisoners also accomplish their goal by writing great lyrics. The lyrics are a great combination of the wit of Peter Bjorn and John, the social commentary of Deerhunter, the simplicity of Foster The People, and the symbolism of Fleet Foxes in just about every song. "Know No Violence" lyrically could easily be confused for a pacifistic hipster version of "Imagine" and "All You Need Is Love," the lyrics of "Slow Decay" remind me of something on the latter half of Torches, the lyrics on "Los Angeles Guitar Dream" sound like something you would hear from Peter Bjorn and John, Animal Collective, or Deerhunter, "Cadillac From Yesterday" is like a distorted electronica version of a Bruce Springsteen song and it has the old school symbolism of a Fleet Foxes song, and "Lipstick Under The Table" seems to combine all of these influences perfectly. The album is not a lyrical masterpiece but that is because the band did not want to make it a lyrical masterpiece. Even though the lyrics are of the highest quality they still match the albums sound perfectly, even though the album only has one chorus that really stands out just about every song has one memorable verse, and even though the band has a lot of lyrical influences they are still able to forge their own "lyrical style" throughout the album. The songwriting on the album is another reason why Spanish Prisoners were able to make their dream album with Gold Fools.

Another thing that helps the Spanish Prisoners make a great album is the albums instrumentation, flow, and quality of song in general. All of these songs have at least one "instrumental moment" and all of the songs flow together perfectly: the one minute distorted guitar riff of "Los Angeles Guitar Dream" is a perfect opening for the album and the songs wavy last seconds somehow flow into the disco like opening moments of "Rich Blood," the smooth disco feel of "Rich Blood" gives you a strange exhilaration and the silence of the last seconds of "Rich Blood" flow nicely into the subdued riff of "Know No Violence," and the build up of "Know No Violence is memorable and the song also flows perfectly. The album goes on like this and even though the songs sound completely different they all have great instrumental moments and they all flow together beautifully. The album also has lots of great songs: "Know No Violence" is a great "distorted ballad," "Slow Decay" is a great song about a depressing subject manner, the chant chorus of "November Third" makes the song itself insanely good, "Los Angeles Guitar Dream" has the best instrumentation of any song on the album, and "Downtown Chicagoland" is the perfect "last song." The albums great instrumentation, flow, and songs help the Spanish Prisoners.

You may never be able to be the person that you are supposed to be. You may not ever be Brad Pitt, Bill Cosby, Warren Buffett, Billy Graham, or the smartest kid in your class. You may just have to settle with being "morbidly obese Joe who wants a six pack" or "Marie with the drinking problem." But the great thing is that you can still find some happiness and fulfillment from watching other people accomplish their crazy goals. You can still be happy watching other people get fit, other people find God, other people make good grades, and other bands create their "ultimate album." What makes Gold Fools so great is that it is not only a solid album but an album that makes you feel fulfilled. It is a band realizing their influences and becoming a beautiful combination of the bands that influenced them. Most albums leave me feeling bitter, angry, sad, depressed, or nostalgic. This album is one of the few albums that leaves me in a joyful state of fulfillment because I know that this is a band that worked hard enough to acheive their dreams. And watching people accomplish the impossible is always something that should make you feel happy and fulfilled in a very strange way.

Bandcamp

Tracklist:

1. Los Angeles Guitar Dream

2. Rich Blood

3. Know No Violence

4. November Third

5. Slow Decay

6. Lipstick Under The Table

7. That's When I Froze

8. Cadillac From Yesterday

9. Downtown Chicagoland

Album Review: Big Deal - Lights Out

2012-01-24T13:11:00.002-05:00

Album Rating: B+

It's been nearly thirty-five years since Olivia Newton-John and John Travolta graced listeners and viewers alike with their silver-screen performance of 'You're the One That I Want' on the 1978 film version of Grease; and while the overabundance of black spandex and flagrant expressions of desire seem more than a little cheesy in a modern viewing of the scene, the cutesy duet is wholly iconic in its own right. This isn't to say that these tinsel-town lovebirds were the first to cash in on on the poppy pastiche afforded by the boy/girl combo; the jig is as old as pop music itself, they just so happened to make a statement of it. Hence, it's pretty easy to see why so many couples have tried to follow in their wake since, ranging from Ross and Richie's 'Endless Love' to Jay-Z and Beyonce's relationship in general; and, on a lesser-known scale, manifest in such modern groups as Lemuria or appropriately-named She & Him. Point is, if you're going to play the indie girl / melancholic boy card in 2012, you damn well better do it right.

Most fortunately for we expectant listeners, England's Big Deal is a duo that absolutely does it right. The story behind how Londoner Alice Costelloe came to meet Kacey Underwood is, in itself, the perfect grounds for so endearing a partnership to forge, with a maternal run-in and some chance-happy guitar lessons eventually bringing the two together in their joint musical endeavors. Alas, Underwood's West-Coast upbringing and preoccupation with 70's rock chanced to pair up with Costelloe's Beach Boys-inspired pop sensibilities, and, a mere eighteen months later, came to fruition on debut full-length Lights Out.

Where Lights Out truly shines is in its ability to portray the duo's perfect chemistry with fascinatingly stripped down songs. Costelloe and Underwood's unabashed, unfiltered, and truly unflinching sincerity compels the listener to become lost in the nostalgic but ever-present drift. 'Locked Up' is but one example of just how well-suited the two are to make music together, with a lone distant guitar yielding to the duo's on-point voices and building into the final lyric of "I'm a mess / I'm a wreck / But you wouldn't know 'cause I'm at my best when with you." Or take 'Talk', the quintessential confessional of cavernous secrets and unprofessed feelings between lovers - the track recalls the insecurity of relationships with incredible accuracy, honesty, and accessibility.

Sure, Lights Out may fall short where a general lack of resources causes it to falter - be it in the voids scattered throughout the record from the non-existence of a drummer, or in the monotonous and repetitive finales of a few select tracks. Still, the couple offer up an end product with all the indications of their model chemistry - both in friendship and in euphonious pursuits - and provide a more-than-competent follow up to their 2011 EP that had wide-eyed critics in high anticipation.

Facebook

Track List:

1. Distant Neighbourhood
2. Chair
3. Cool Like Kurt
4. Swoon
5. Homework
6. Talk
7. With The World At My Feet
8. Locked Up
9. Summer Cold
10. Visions
11. Seraphine
12. Pi

Album Playlist: 1/23/12

2012-01-23T22:31:00.000-05:00

There For Tomorrow - A Little Faster
(2009) (B+)

There For Tomorrow just feels criminally underrated to me. They're much better than the scene that they are associated with, and the bands that they tour with do nothing to remove those associations. A Little Faster shows that There For Tomorrow can create an extremely strong record, with not one weak song out of the eleven on the album. Maika Maile's vocals are powerful, and each of the band members' have tightened up their instrumental skills from the self-titled EP. With three ballads, a couple mid tempo anthems, and a bunch of uptempo rockers, A Little Faster is fantastic.
Key Tracks: "Stories", "Wish You Away", "The Remedy"
Recommended If You Like: Anberlin, Ivoryline

Wild Flag - Wild Flag
(2011) (B)

Portlandia is an odd show. It's one of those shows that gets a few laughs, and I honestly can't tell if I really enjoy it or not. But the best thing about the show is that it ignited my love for Carrie Brownstein. Wild Flag is Brownstein's current musical project. The self titled is an extremely catchy indie rock record dominated by Brownstein's unique vocals. Sleater-Kinney fans who haven't heard Wild Flag yet need to do so now.
Key Tracks: "Romance", "Glass Tambourine"
Recommended If You Like: All girl bands, indie rock, Sleater-Kinney

Album Review: Gonjasufi - MU.ZZ.LE

2012-01-23T20:12:00.010-05:00

Album Rating: B

Gonjasufi (aka Sumach Ecks) has risen to the top in a considerably short time. Presenting us with his left-field entry album A Sufi and a Killer, Gonjasufi immediately found a sound that was all at once challenging and accessible. Splicing wispy, ethereal elements with his grimy vocals, Gonjasufi nestled into a cultural medium and exercised the dichotomy between restraint and release. Speaking of the title of his debut, Gonjasufi said, “The Sufi side of life has helped me with my killer side so I try not to attach myself to any label. There's a Sufi and a killer in everybody, man.” And that sentiment is apparent all throughout said album, specifically in the contrast between the more jaded, emotionally driven tracks (“She Gone”) and the happier moods set (“Klowds”). Choosing to produce his new album on his own (without the talents of LA producer Gaslamp Killer), MU.ZZ.LE takes a considerably different direction and focuses more on mood (on the surface, at least).

Whereas A Sufi and a Killer’s smoggy aesthetic, drugged-out ‘60s psychedelia, and hip-hop blend made it one of 2010’s most eclectic works, MU.ZZ.LE comes across as a lot rougher around the edges, focusing more on brooding synthesizers and lethargic vocals. Gonjasufi’s voice lacks the flair of previous releases and it’s buried under ambiance and electronics, but what he lacks in oomph he certainly makes up for with atmosphere. Here, Gonjasufi champions thick, treble-heavy beats and dials down the emotional impact of his voice, portraying himself as somewhat indifferent. Some might mistakenly think it’s lacking in passion, but Gonjasufi is harboring anger under this collage of different sounds. It’s easy to miss, given that most of the vocals here are veiled by everything happening around them, but Gonjasufi presents us with a social commentary about the grotesque nature of man, hones in on self-loathing, and ruminates (“The Blame”): “Children fucking blow up malls/Grown men fucking blow-up dolls/I’m not the perfect man, and I never claimed to be/ I’ve done some things in my time and even I’m ashmed of me”.

One would be excused for initially writing MU.ZZ.LE off as an aimless mess (and it sort of is at points), but subsequent listens reveal neat little quirks, showing a more nuanced record than some will initially give it credit for. “White Picket Fence” is a laid-back lounge number whose atmosphere nearly evokes a sound similar to Pink Floyd (think Dark Side of the Moon), “Nickels and Dimes” opens with candor as children’s laughter can be heard faintly in the background, and “Blaksuit” is sort of nostalgic with its crisp audio sound, seeming as though it’s being spun on vinyl. The production value is exceptional on certain tracks, but elsewhere it fails to entice.

For all its enjoyable moments (the album is only 25 minutes long) there are some meandering, pointless tracks. Being almost half the time of its older brother, MU.ZZ.LE (somehow) seems a lot less focused and ends up being notably disjointed. Most recognizably, “Rubberband,” "Timeout," and “Sniffin’” feel like filler tracks - the latter in particular is a disappointing and awkward conclusion to the alum, and outside of that the songs feel underdeveloped; even the best tracks are too fleeting. Still, MU.ZZ.LE brings with it an exciting new direction for Gonjasufi and manages to still feel familiar to fans. Even the drug-induced laments of A Sufi and a Killer are here (“Venom”). Looking beyond its few faults, MU.ZZ.LE is an album that has something for everyone, and it’s easy to get lost in its dreamy-like atmosphere.

Facebook
Website

Track List:
1. White Picket Fence
2. Feedin' Birds
3. Nikels And Dimes
4. Rubberband
5. Venom
6. Timeout
7. Skin
8. The Blame
9. Blaksuit
10. Sniffin'

Album Review: Matt Pryor - May Day

2012-01-23T02:16:00.006-05:00

Album Rating: B+

Matt Pryor, a name known to many a troubled 90's youth, has been fairly active as of late. Not only will The Get-Up Kids have up and coming tour dates, but The New Amsterdams will see a compilation, and a not-yet-announced project with friends of Pryor will see the light of day as well. However, the forward motion of this rolling stone begins with May Day, the second solo release in Pryor's solo, acoustic folk effort. Each of the songs has a heartfelt quality about them, and that's not just because half of the songs sound like lo-fi recordings from a dinghy room lit by a single, bare bulb, but more the bright, uplifting yet quiet, melancholy aspects that the songs seem to portray. Pryor's creativity comes bursting out of May Day with great gusto, impressive not only from an album written, recorded, and mixed in a month, but for any indie effort period.

"Like A Professional" is the first song that changes the upbeat mood of the album to a darker, more reflective tone. "And what became of everyone I used to know / I wrote that song for you, and I meant every word", Pryor reminisces, to a solo acoustic guitar and a reverbing organ (or something similar - the sound's hard to place, but fits the song so very well). The trio of the sounds doesn't seem like it can effectively move the song, but the organ leads a gentle progression in this bitter tune in a softly somber manner. Coupled with the twang of steel strings on wood and a breathy whine from Pryor, the song slows and fades to a gentle stop like a candle slowly burning to its end, and flickering out.

"Your New Favorite" brightens the spirit from the song before it, opening with a bright piano and a cheery harmonica. However, the lyrics denote that the song is a false pretense of happiness, as Pryor sweetly sings, "I can lie to you so genuine / I sell it with a smile / I can thank ladies and gentlemen / while breaking up inside". The piano tone in the song makes it seem instantly familiar, left hand pounding out root chords like an old classic that you pop in from time to time just to remember and smile, with the added bonus of a tambourine and a metronomic strumming of guitar to keep the tune bobbing along in this fake contentment. The piano wraps up the laid-back tune with a quiet resolution and puts a fitting end to what may just be your new favorite song (okay, that was bad, even for me).

May Day is an incredibly easy listen, and Matt Pryor pours a lot of who he is into this album. As Pryor talks about on a Midcoast Station interview, "It was written and recorded during a time when I [Pryor] was really just sick of everything and burnt out on making and playing music in general. A lot of the songs reflect that." It's really interesting how a man feeling burnt out on music and people is able to throw together a great record in a month, and how you can only really tell if you know that to start listening - otherwise, the exhaustion is lost under a wave of great sounding songs that send a very different message than they seem to. Whether ye may be a fan of indie folk, previous GUK or New Amsterdams releases, or just looking for something new, May Day is a great listen and has a lot to love. We'll see a lot from Pryor in the future too, I'm sure, so keep an eye out.

May Day comes out Tuesday, January 24th.

Listen to a few tracks on Matt Pryor's Facebook. Also take a look at the interview with Pryor on Midcoast Station.

Track Listing:
1) Don't Let The Bastards Get You Down
2) The Lies Are Keeping Me Here
3) Where Do We Go From Here
4) Like A Professional
5) As If I Could Fall In Love Again
6) Polish The Broken Glass
7) Unhappy Is The Only Happy That You'll Ever Be
8) As Lies Go... This One Is Beautiful
9) Your New Favorite
10) You Won't Get Any Blood From Me
11) I Was A Witness
12) What My Tired Eyes Would View

MuzikDizcovery Recreations: Mansions - Blackest Sky

2012-01-21T16:06:00.003-05:00

We're starting a new series here on MuzikDizcovery called MuzikDizcovery Recreations. Bands will be recreating their own tracks by changing the arrangements, tempo, or other things, or by covering a song in their own style. If you want to be part of this series, please email me at caseywhitman@muzikdizcovery.com, and we will work this out.

Before Mansions' show at Jammin Java on January 20th, Chris sat down with us to be part of the first edition of MuzikDizcovery Recreations. He decided to recreate the crunchy distorted guitars of "Blackest Sky" with a little keyboard, which you can watch below. You can also watch a video (taken from Youtube) of him performing "Blackest Sky" in the original way. Let us know what you think of the recreated version in the comments. Check out Mansions on Facebook here.

The Daily Blair: Spotlighting Vess

2012-01-19T18:40:00.009-05:00

By now you guys know how much I love the last few minutes of Radiohead's "Paranoid Android," how much I love the songwriting on Bright Eyes I'm Wide Awake, It's Morning, how I tend not to have any clothes on anytime I hear anything off of Abbey Road, how much I want to cry anything I hear a song of the Antlers' Hospice, how Frank Turner single handedly made me question everything I thought I knew, how awkward it is when I dance to "Otis," and how much Ryan Adams reminds me of the new Facebook timeline.

Even though I love all of this music, it isn't really the reason I listen to music. We all know how good Radiohead is because we have been listening to them for years, we all know that Conor Oberst will make bulimic teenage girls go crazy for years to come, we all know how good of musicians three of the Beatles were, we all know that the Antlers will continue to make some beautiful and depressing songs, we all know that Frank Turner will continue to be the man,we all know that Jay-Z and Kanye will continue to inspire my rapping career (B-Hizzle,) and we all now that Ryan Adams musical career will be about as consistent as Mandy Moore's acting career.

The music I love is a given. I know those guys will be there for me just like I know my family will be there for me. If I have a problem I can count on the whiny vocals of Thom Yorke or the sentimental lyrics of Conor Oberst. The reason I listen to music is for uncertanity. I listen to music to discover something new (shameless plug,) to find a singer that can whine like Yorke, to find a songwriter who can write like Oberst, to find a band that reminds me of the best Beatles songs, to find someone who makes me question things just like Frank Turner, to find an artist that makes me more emotional than the Antlers, to find a song that makes me dance more than "Otis," and to find a more consistent version of Ryan Adams. I guess I search for more music just so I feel like I can have more music that is a "given," more music that is "there for me," and more music that I consider closer than family. I want to find good music almost more than I want anything in the world, because as sad as it may sound good music has always rewarded my soul more than almost any other thing in the world. Good music has always been more permanent than personal love, it has always been more durable than the latest version of your phone, it has always been more irreplaceable than whoever you are best friends with this week, and in a weird way it has always been something that is bigger than you. When I up and go to my reward, I will look down and remember my love of music as one of the most rewarding parts of my life. I relentlesly search for good music because I want more artist, songs, and lyrics that I can count on and I want something that is more reliable than actual people.

With all of this being said finding new music of a high quality is always nearly impossible. In this technology driven world it seems like we have everything except an app that gives us musicians who are actually kind of talented. The pursuit of musical perfection usually results in my consistent depression. I want to find more artists to add to my invisible family, but every bad song I listen to just seems to make more depressed and more apathetic. Sometimes I feel like just giving in and listening to whatever poor excuse of music I am supposed to listen to on the radio. So as you can imagine when I find any type of new music that resembles actual music, I am beyond stoked.

I never expect to find the "perfect" song when I am searching for new music. Actually I don't know if I have one hundred "perfect" (five star) songs in my entire music library. The perfect song makes me feel something, the perfect song has at least two instrumental moments, the perfect song has some solid songwriting, the perfect song is catchy, the perfect song is a combination of tons of different influences, and the perfect song is a song that I can listen to again and again. Once an artist creates one song like this they are usually added to the Blair Chopin "family" where they can be counted on again and again. But the problem is that I rarely find a song like this when I am searching for new music. Actually I had never found a perfect song by

UNTIL

One night my dear lady friend who I for some weird reason call "Potato Salad" told me about a local band called VESS. I told this kind woman that I would listen but I never really planned on it because I have always found local bands to be the worst bands, I am opposed to band names that appear to be shouting at me, and she is so nice that she would probably like a CD of me yelling at Terrence Jones. But after forty terrible screamo bands, fifty-five bad indie artists, and twenty bad singer-songwriters I decided to give the VESS a chance. And what I found was the perfect Blair Chopin song. VESS only have one song ("Wild Horses") and it is totally perfect. Here is why......

REASON #1: MAKES ME FEEL SOMETHING

VESS has the potential to be the perfect combination of Springsteen, The Gaslight Anthem, Arcade Fire, and Anberlin. Which basically means they make you feel pretty damn American. The song gives you the "Thunder Road" feeling that you are falling in love with a woman and a city for the first time, the song gives you the "The Miles Davis & The Cool" feeling that you are living in your future and your past while obsessing in the present, it gives you the "Haight St." feeling that finding God in yourself is the best part of finding yourself, and it gives you The Suburbs feel that growing up is the only option. The song is the perfect opener for a concept album about growing up in American and that is probably the reason it makes me feel American. That last sentence is not the reason Casey hired me.

REASON # 2: INSTRUMENTAL MOMENTS

The best thing about this song for me is the instrumentation. The song has tremendous drumming throughout, has great instrumental build up throughout the song (each part of the song transitions smoothly into the next section of the song,) and I really love the electric guitar riff. The most impressive thing though is that the instrumentation always matches the vocals. I am always a fan of that. Go team.

REASON # 3: LYRICS!

I honestly having no idea what the lead singer is saying for about 80% of this song. But I know for a fact that he talks about horses a lot, and being from Kentucky I am now required to say that this may be the greatest songwriting accomplishment of the past forty one years (since The Rolling Stones released "Wild Horses.") "Wild Horses" does seem like it has some really good lyrics though. According to my sources not at Pitchfork the band tends to write about growing up, finding God, finding love, and having a band name that is still screaming at me. Those are the four best lyrical themes a band can have.

REASON #4: INFLUENCES!

It is safe to say that VESS was under the influences while making this song. The distorted childrens choir at the beggining of the song reminds me of Manchester Orchestra's "Virgin," the opening drums remind me of the opening to the National's "Apartment Story," how the chorus perfectly leads into an awesome guitar solo reminds me a little bit of the Gaslight Anthem, the brilliant breakdown to the song reminds me of the end of Miniature Tigers "Last Nights Fake Blood," and the silence at the end of the song reminds me of the silence at the end of most songs. This song sucessful combines the feel of Springsteen, Anberlin, Arcade Fire, and Gaslight Anthem with Manchester Orchestra, The National, and Minature Tigers influences. So basically they are a perfect combination of seven perfect artists. And want to know the scary thing? They probably do not even know who these artist are yet because they are to busy hitting the Caps Lock button on their keyboards.

REASON #5: VOCALS!

I love me some burly vocals (no hetero.) This guy sounds like the perfect combination of Matt Berninger, Bruce Springsteen, Win Butler, Brian Fallon, and the lead singer of VESS. So this means that at their best this band could make songs that sound like a combination of "Start A War," "Thunder Road," "Haiti," and "Wild Horses." That's unbelivable, baby! (Watching college basketball)

REASON #6: RELISTEN POTENTIAL

I listened to that song 23 times while writing this article.

VESS made the perfect song. Let this be a lesson to always trust potato salad, to support your local artists, and to never stop searching.

VESS FACEBOOK:
FAMILY TREE (he looks like Conor Oberst)
BANDCAMP
REVERBNATION
PICTURE OF CONOR OBERST:

ANTHONY DAVIS:

Album Review: First Aid Kit - The Lion's Roar

2012-01-19T17:04:00.002-05:00

Album Rating: A

When First Aid Kit emerged from the shadows with their Drunken Trees EP almost four years ago, you always got the impression that their name was set to stick around for the considerable future. Ok, that debut release and subsequent album The Big Black And The Blue did pass by largely without fuss, but such was the obvious talent at work it didn't take much working out that Swedish sisters Johanna and Klara Söderberg were destined for bigger things. As such, it comes as little surprise that they've pulled the stops with this sophomore effort, building expertly upon their strengths all while snuffing out what few weaknesses they had, with the end product being something of a modern folk classic.

That statement alone indicates that The Lion's Roar is a cut above anything that the duo have mustered to date, but even that struggles to justify just how big a step forward this record is. The Big Black And The Blue was populated largely by standard fireside folk tunes, which although by no means outstanding had more than enough charm and consistency to get by. Here, though, they've upscaled their ambitions dramatically, with a collection of immaculately written songs which expand upon each and every positive trait they have going for them. It's a similar balance between a basic folk aesthetic and advanced pop songwriting that Bright Eyes achieved with Cassadaga, but make no mistake, this is a record that has First Aid Kit's mark stamped all over it, something that's always clear in spite of the progress they've made.

The pair of singles which introduce the album make this apparent right from the off, with both representing a momentous step up from anything they've produced until this point. The title track which opens proceedings not only displays a vastly expanded instrumental pallet (a feature which is fully utilised throughout all ten tracks), but also a heightened focus on dynamics, with an ever altering pace complementing the more memorable and direct choruses to great effect. Following track 'Emmylou' is even better, bearing many of the same characteristics but wrapping them tightly in the duo's trademark layers of loveliness with the end result being arguably their finest song to date. With both being relatively upbeat, that opening pair immediately pose a question as to whether the sisters have lightened up, but as The Lion's Roar progresses it becomes obvious that what has in fact happened is rather a sharpening of the extremes. To state it simply, the happy songs are happier, and the sad songs are sadder, though this does little to curb the record's cohesion, something that's evident by the fact that the irresistibly chirpy 'Blue' and its somewhat more reflective neighbour 'This Old Routine' can sit side by side in perfect harmony.

Gloriously sprightly closer 'King Of The World' provides another highlight, ending things in the best way possible, and even throwing up another Bright Eyes connection in the form of a fantastic guest appearance from Conor Oberst. It's ironic that this track will inevitably be given the most attention, as this is a record which trumps everything that Oberst has produced with Bright Eyes, or for that matter any of his other projects for a good seven years, and that alone should give you an idea of it's quality. An early musical touchstone for 2012, The Lion's Roar has the potential to be the making of First Aid Kit, and with a little justice and exposure should cement the sisters as a force to be reckoned with in the modern folkesphere.

The Lion's Roar is released on Jaunuary 23rd, and can be streamed here.

Facebook
Myspace
Official Website

Tracklist

1. The Lion’s Roar
2. Emmylou
3. In the Hearts of Men
4. Blue
5. This Old Routine
6. To a Poet
7. I Found a Way
8. Dance to Another Tune
9. New Year’s Eve
10. King of the World

Album Playlist: 1/18/12

2012-01-18T23:01:00.000-05:00

Mae - The Everglow
(2005) (A)

The Everglow is a top five favorite album of all time to me. The entire record is perfectly flowing from one song to the next, and every single song is extremely memorable. "We're So Far Away" is one of the best piano ballads ever. Honestly, this record has zero weaknesses, though it doesn't hit me as hard as Everything In Transit and Leaving Through The Window do.
Key Tracks: This is not an album to listen to individual tracks to, but if you really want some, "The Everglow", "We're So Far Away", "Someone Else's Arms"

Recommended If You Like: Piano supported, guitar based pop rock. Really though, everyone should be able to love this album.

Check below the jump for one of my favorite records of 2011 by Those Dancing Days and Mayday Parade's comeback record.

Those Dancing Days - Daydreams &
Nightmares (2011) (A-)

Those Dancing Days bring a good name to all girl bands. I'm sure it's a kick in the nuts to many guys that these girls are all better musicians than 99% of all dudes out there. In fact, the drumming is some of the best I've ever heard. Every song is extremely catchy, and Linnea Jonsson's voice has the soulful quality to it that makes these poppy indie rock tracks unique.
Key Tracks: "Fuckarias", "Dream About Me", "Can't Find Entrance"
Recommended If You Like: I don't know another band that sounds like Those Dancing Days, as they pull together aspects from punk, indie rock, and soulful pop.

Mayday Parade - Mayday Parade
(2011) (B-)

After hearing the disastrous Anywhere But Here, I was about done with Mayday Parade. But the band's self titled album brought back a shimmer of hope that they could return to their former selves. Derek Sanders' vocals have regained their former passion, while vocals from drummer Jake Bundrick put the band back on track to create the real follow up to A Lesson In Romantics.
Key Tracks: "Oh Well, Oh Well", "Everything's An Illusion"
Recommended If You Like: The Maine, Go Radio...also listen to Brighter Brightest.

The Daily Blair: The "Get Laid" Playlist Theory

2012-01-18T18:47:00.013-05:00

I know you. All you want out of your day is to get your school work done, you want to watch your favorite sports team or TV show, you want to have a brew with a few of your bros, you want to read Eli Kleman's thoughts on some awesome new album, and you want the company of a handsome lady. You feel like you should be able to accomplish all of this in one day but you always seem to strike out when it comes to scoring that mermaid. Let me help you.

The problem you are having is that you like music by artist that are not Gaga, artist who are neither slim nor shady, artist who refuse to kiss you through the phone, and artist who actually have some sort of musical talent. Once the female hears that you like music that is not on "Shit Songs 107.1" she immediately considers you to be a weird person who she could not carry on a romantic relationship with. She needs a man who makes 250K a year not a man who has 250,000 different versions of "Reckoner." Once you admit that you are not a radio robot, all hope seems to be lost.

Or is it?

This woman is obviously going to ask you for a CD, playlist, or if she is white trash enough a cassette. If you do this playlist wrong you will be the guy who watches "90210" with her, the guy who wakes her up on Black Friday, and the guy who is supposed to always be in a state of quiet awe around her fratty boyfriend. But if you do this playlist right you will end up having one of the best days of your life. Here are some things that you need to establish with this playlist:

A. You are not like every other guy!
B. You are not looking just to get in her pants!
C. You will always "be there" for her!
D. You know what love is!
E. You are hip, but not a hipster!
F. You have subscribed to at least one politically correct view!
G. You believe in Jesus/Buddah/Allah/Etc!
H. You recorded a song for her!

You have a chance to have a perfect day. Go and get it with these nine songs!*

*Please stop reading if you are a female or a decent human being*

SONG # 1: THE I AM NOT LOOKING FOR A QUICK BANG OPENING SONG
2011 example: Death Cab For Cutie: "Stay Young, Go Dancing"

Most women believe that most men are just looking to hookup with them based off of the proven fact that 99% of men are just looking to hook up with them. This means that going into this playlist the attractive female is expecting an opening song like "I Want To F(ournicate) With You." You have to make her think that you are not all about that and that is why it is key for you to choose a sensitive and romantic opening song. SYGD is the perfect opening song: it talks about love at first sight, falling in love, and dancing even through the coldest of winters. It is key that you choose a song that does not have the words "shawty," "jizz," "booty," or "roofi" in the lyrics. SYGD is the perfect sensitive first song.

SONG #2: THE I ACTUALLY GIVE A SHIT ABOUT IMPORTANT SHIT SECOND SONG
2011 example: Frank Ocean: "We All Try"

Women love a politically correct cause. So far this month I have been a 99 percenter, a Pro Life activist, a Pro Choice activist, an Environmentalist, a Scientologist and most importantly someone disguised as a decent human being. Women get excited when they are tricked into thinking that men might actually be more then beer, Halo, and fantasy football. "We All Try" is good because it presents you as someone with original opinions on gay rights, the moon landing, God, and abortion. You no longer look like a douchebag!

SONG # 3: THE I PROBABLY WILL NOT DITCH YOU FOR A MORE ATTRACTIVE WOMAN AT THE FIRST SIGN OF DANGER THIRD SONG
2011 example: Brett Dennen: "Sydney"

Women need to know that you might actually have their back. They need to know that when Sprinkles is sick you will not put her out of her misery (Office reference,) they need to know that you will be there when they reject that expired Sears coupon, they need to know that you will be there when a dog eats Dan's heart (One Tree Hill reference,) and they need to know that even when the temperature is a chilly fifty-five you might still consider driving them to the airport. Women need to know that when the proverbial feces hits the proverbial fan that you will clean it up with your proverbial shovel. "Sydney" is the perfect "Darling, I always got your back!" song.

SONG #4: THE I AM JUST A TOTAL SWEETHEART WHO MAY OR MAY NOT WANT YOU FOURTH SONG
2011 example: Ryan Adams: "Come Home"

So far on your quest to just bang a random hot chick you have established that you do not want to just randomly bang a hot chick, that you may care about political issues other than the legalization of hooch, and that you may let them borrow your coat if things really get bad. The woman is now talking with her friends about how you meet everything on her "perfect guy" checklist. This is not what we want. Meeting everything on that checklist means lunch dates, babysitting, and pretending to like Newt Gingrich just to get in good with her father. We need something that will get this fine lady to your bachelor pad as soon as possible. A song as sweet as "Come Home" will bring this lady to you immediately.

SONG #5: THE I AM TOTALLY HIP BUT NOT A HIPSTER FIFTH SONG
2011 example: Bon Iver: "Beth/Rest"

At this point the woman wants you physically but not emotionally? She wants you to tear off your clothes but doesn't want to see who is underneath the clothes, she wants you to make her shout random things but does not know anything about the person who she is shouting for, and she wants to know you but she doesn't want to "know you." You want this girl to know that you are more that just a perfect piece of ass who oozes sexual playlists. You want her to think you are hip as well. That is why you put the 1980's sensitive porn stauche anthem "Beth/Rest" right here. If she doesn't like this song then she didn't deserve you anyway, bro!

SONG # 6: THE LOVE MEANS SO MUCH TO ME SIXTH SONG
2011 example: Meg & Dia: "Love Is"

Women define love as a flower on a bad day, a "perfect wedding," a random upside down kiss in the middle of a storm, and a bunch of stuff that we are too stupid to understand. Men define love as their dog Rufus, their fantasy football team, their favorite brand of beer, the 3-D "Jackass" movie, and MuzikDizcovery.com! Somehow we have to at least pretend that we are trying to reach a compromise. So this song makes it sound like you would name your Fantasy team after her favorite flower, your dog could be the best man in your wedding, you would tongue kiss her between every sip of alcohol, that you will visit Gawker in between reading a brilliant Casey Whitman write up, and that you will only try three stunts from Jackass. This song makes her believe you not only understand love, but way more importantly makes her believe that you understand compromise.

SONG #7: THE I MIGHT ACTUALLY BE GAY FOR JESUS CHRIST SEVENTH SONG
2011 example: Thrice: "Treading Paper"

I have always found the female relationship with God more complicated then my relationship with Double Stuffed Oreos. Sometimes they act like all they want is God and other times they act like they despise Jesus so much that they will not even let him water their plants. But in general they love Jesus even though their is suffering in the same way I love Double Stuffed Oreo's even though they make me look like Meatloaf with three food babies. They need a song that demonstrates a complex and unconditional love of Jesus. Thrice can do anything.

(gets struck by lightning)

SONG #8: THE I AM NOT REALLY THAT DEPRESSED EIGHTH SONG
2011 example: Jay-Z and Kanye West: "Otis"

So the other day me and Annymous Girl #18 were driving in my other other benz the other day and I thought it appropriate to put on some Boxer by the National. By the time we got to the opening verse of "Green Gloves" though she just opened that beautiful mouth of hers and said "Blair, sweetie this is pretty damn depressing." After picking her off the cement, I realized that she was probably right. Women want one dose of fun dancing badass to go along with their ten doses of sensitive perfect guy. "Otis" is the perfect fun song that proves that you can actually have fun even if you are white and cannot dance.

SONG # 9: THE CLINCHER
2011 example: Your Name: "Your Pitiful Love Song"

So far you have convinced this fair lady that you are not a one night stand type of person, that you may actually stand for something other than not starting DeSean Jackson in a contract year, she is convinced that you might not watch a re run of "The Contest" if she was in a life or death situation, you have convinced her that you actually love her, you have convinced her that you are the only man in the world that understands love, you have convinced her that you are a hip non hipster, you have convinced her you love Jesus, and you have convinced her that you have some "swagger." Now it is time to win her heart and sing for her.

It really doesn't matter how good your song is right now. She just wants to hear in you tell her that you care for her even if it is in the most underproduced and over cliched way possible. Once you tell her in your own voice you love her she will be prepared to make some sweet love to you. All of those other eight songs won't matter. You did it, man!

You're Welcome,

Blair Chopin

Artist Spotlight: Sleepy Hahas

2012-01-18T13:27:00.000-05:00

Influences. Revival. The two terms get thrown haphazardly around the realms of creating and critiquing music to the point that their significance and implications are rarely even considered. Yet, I find it impossible not to assert that influence and revival are EVERYTHING. Any modern music is derivative of past and current efforts, that much is obvious, hence the importance in whose wake a band will tread, hence the unquestionable gravity in which sounds they choose to revive and incorporate into their own product. And if Buffalo, NY's Sleepy Hahas have done one thing right thus far, it's that they've chosen wisely. Not their bandmates, not their name, not the design of their first tee shirt, but their influences.

Citing such influences ranging from Queens of the Stone Age to staple indie rock duo The Black Keys to the (sadly) now-defunct White Stripes, Sleepy Hahas have obviously aimed to emulate mastery with their music. But they don't just leave it at admiration and name-dropping, they deliver big with debut EP Cranberry Juice and Battery Acid, demonstrating their own proficiency in the craft of hard-hitting, bluesy rock and roll. From the ambient riffs of opener 'Blackest Sunshine' to the grungy undertones atop which 'Little Girl' triumphs and finally to an epic 8-minute finisher in 'Hazeltine Hymn', Cranberry Juice and Battery Acid stands resolute as a product of four kids with a knack for well-founded jams.

Hear Cranberry Juice and Battery Acid in its entirety on their Bandcamp, or check them out over on Facebook.

Album Playlist: 1/17/12

2012-01-17T18:37:00.008-05:00

With the announcement of SPIN Reviews, a twitter account run by SPIN reviewers to push out 140 character max reviews, the art of the review has become much less sophisticated than it has been in the past. But while the descriptions are much less in depth, it allows the writers to talk about a larger amount of albums in a shorter time. I'm now going to introduce the Album Playlist feature to the site, where I will grade and put a short description of the albums I listen to on a specific day. All grades are subject to change, as they will be based off all the listens of the album up to the specific date of the article. Grades will be based on the letter scale as used on the site, but borderline grades (B+/B, B-/C+) will be included. Read below for impressions of Houston Calls' best album, as well as two The Rocket Summer classics.

Houston Calls - A Collection Of
Short Stories (2005) (B)

Houston Calls is (probably) reuniting. So I had to take a listen to A Collection Of Short Stories for the first time in a while. It's definitely a fun listen, perfect for working out or driving. The catchy hooks are only amplified by the synth lines. But while the tracks do blend together, there isn't a poor moment in the album.
Key Tracks: "Exit, Emergency", "Bob and Bonnie"
Recommended If You Like: Pop punk that leans to the poppy side that is full of synths and keys, a la Motion City Soundtrack or Farewell.

The Rocket Summer - Hello, Good Friend
(2003) (B)

I had a bit of a The Rocket Summer kick this weekend, as I listened to both Hello, Good Friend and Do You Feel (seen below). Hello, Good Friend definitely is a more raw side to Bryce Avary, especially in the vocal area. But even way back then, Avary proved he's a damn good pop rock song writer.
Key Tracks: "Never Knew", "Around The Clock", "Brat Pack"
Recommended If You Like: Pop rock led by piano, such as The Morning Of or The Morning Light

The Rocket Summer - Do You Feel
(2007) (B+)

The major labels did well for Avary's sound. While the voice doesn't have the rough patches it did in Hello, Good Friend, it kind of loses some of the passion. As with Hello, Good Friend, the album's probably a couple songs too long. But the overall songs are even better than Hello, Good Friend, and Do You Feel is The Rocket Summer's most popular album for a good reason.
Key Tracks: "Do You Feel", "So Much Love", "High Life Scenery"
Recommended If You Like: Read one album up.

Album Review: Pulled Apart By Horses - Tough Love

2012-01-17T13:03:00.002-05:00

Album Rating: B

Pulled Apart By Horses are one of those bands that are neither here nor there. Too hard to be rock, yet not hard enough to be hardcore, they manage to teeter on the edges of established genre boundaries without possessing a sound that's especially unconventional or out-the-box my any means. No matter, the music that they make is rarely less than enthralling, as evidenced on their fun-as-hell self-titled debut LP released in 2010. Admittedly, live is where they earn the majority of their beans (and money), but that record was nevertheless a thoroughly enjoyable listen from a band who seem to be in it for the right reasons, that is, to have fun, and to deliver as much for those paying attention. In every sense, follow-up Tough Love delivers on exactly the same fronts, and as such can be viewed as a similar success.

That previous sentence may seem to imply that this sophomore effort merely equates to more of the same, but that assumption would be grossly unfair on a band who have clearly made great strides over the past two years. Their improvement as a musical unit is obvious on each of Tough Love's eleven tracks, with more refined individual performances from each of the quartet leading to a far tighter and more balanced sound. A step up in their songwriting is also partly responsible for this, with each cut here representing a deliberate, fully-formed song as opposed to those on their debut, which often seemed like little more than a cobbled together collection of riffs and other undeveloped ideas. As an added compliment, the production here is also far stronger, with former Pixes, Foo Fighters and Jimmy Eat World collaborator Gil Norton adding the his trademark sheen and precision to the chaos here.

Even with those notable changes, though, this is an album that delivers in pretty much every way that you'd expect it to, with little in the way of added thrills and, at 32 minutes, minimal fat around the edges. The riffs still pack a punch, the songs still place their emphasis firmly on fun and the band's fondness for blunt expression remains in the form of lines such as "when I was a kid I was a dick, but nothing changes!" 'Wolf Hand,' the song on which that lyric features is an obvious highlight, and perhaps the best example of the benefits brought about by Norton's involvement. It's predecessor, lead single 'V.E.N.O.M.' is even better, and is challenged only by latter cut 'Bromance Ain't Dead' as the most fully-realised song that they have penned to date.

Overall, though, there's not a song here which falls below the standards that Pulled Apart By Horses have set for themselves, and while Tough Love is far from a game-changing it hits most fans expectations head on. More or less on par with their debut, you get the impression that this is the level are destined to stay at for the rest of their musical career, such is the air of dependability they omit even at this relatively early stage. They're not the type of band that seems likely to advance beyond this level, or dip significantly below it, and while their music is unlikely to ever gain them lofty accolades or widespread acclaim it's never less than thoroughly enjoyable. The live arena is where their forte remains, but this record reaffirms the fact that their studio exploits are well worth looking into also.

Tough Love is released on January 23rd.

Facebook
Myspace
Official Website

Tracklist

1. V.E.N.O.M.
2. Wolf Hand
3. Shake Off The Curse
4. Epic Myth
5. Some Mothers
6. Night Of The Living
7. Wildfire, Smoke & Doom
8. Bromance Ain't Dead
9. Give Me A Reason
10. Degeneration Game
11. Everything Dipped In Gold

Album Review: The Saddest Landscape - After the Lights

2012-01-17T09:55:00.001-05:00

Album Rating: B

Although Boston emo act, The Saddest Landscape, has been creating music for the better part of a decade, it hasn’t been until recently that the band has “broken out,” earning praise and prominence befitting their impressive track record. 2010’s You Will Not Survive was essentially the full realization of the band’s mixing of old and new: the aggressive emo stylings of Orchid and Saetia, with the more modern post-hardcore Pianos Become the Teeth. Messy, yet impassioned, the album was a step in the right direction in regards to songwriting, adding even more layers of melody and dissonance to an already meaty sound. Thankfully, The Saddest Landscape has stayed the course, offering up yet another fantastically solid record with their latest release, After the Lights.

After the Lights is in effect, a very logical progression for The Saddest Landscape. Although alterations to the band’s sound are subtle, the changes are certainly welcome, specifically with Andy Madoxx, who is more impressive than ever, both lyrically and vocally. His keen sense of timing allows for certain phrases to be emphasized at just the right moment, making for some rather profound lyrics to hold more weight. Added to that, his always impressive vocal range is present as well, with screaming and bellowing blending seamlessly with gruff sounding clean singing. But where After the Lights succeeds the most is when the band is acting perfectly in tandem. While the separate parts are nice on their own, they cannot hold a candle to how well the band functions as a whole. This is made apparent in the beginning moments of “In Love With the Sound,” as the light plucking of strings leads into a contained chaos of furious drums, vocals, and guitars. Moments like these are frequent, as The Saddest Landscape often pull out all the stops to provide some hellish and evocative explosions that cater to their more “scream” sensibilities. Yet it is the more melodic and refined instances that truly display the band’s greatness, and make After the Lights such a wonderful listen. “When Everything Seemed to Matter” is split into two by a melancholy cello, only for the subtle beauty to be broken by a torrential bout of guitar and screams. Moments such as this are sparse, but supremely effective.

Despite the inherent excellence of After the Lights, it’s difficult to truly place it too highly, as The Saddest Landscape’s particular brand of emo has been done many times before, and by many better bands. There are some exceptional moments contained within the album’s 24 minute runtime, but rarely does the band ever go as far as they should. It’s as if they are so painfully self-aware and reluctant to “let go” that they tend to play it far too safe. Such is the way of each release up to this point, as the adherence to what an album should sound like has trumped what an album could sound like.

Minor complaints aside, The Saddest Landscape know how to make an interesting and captivating listen. While it may at times seem like the band missed some great opportunities, it’s shadowed by everything that is done so well.

Facebook

1.) In Love With The Sound
2.) This Heals Nothing
3.) The Urge For Permanence
4.) When Everything Seemed To Matter
5.) The Comfort of Small Defeats
6.)Days of Punched In
7.) Desperate Vespers

Artist Spotlight: The Audacity of Youth

2012-01-17T05:49:00.002-05:00

The Audacity of Youth is the moniker of nineteen year old Indiana musician Joey Wanczyk, who will release "And I Loved You", the first single off of his upcoming album, Departed, on January 26th. Wanczyk, who cites artists such as Bjork, Kate Bush, and Current 93 as his influences, creates a unique atmosphere with his calming ambient arrangements and soft vocals. "And I Loved You" is an especially interesting track, featuring nothing but a calming drone that sounds like William Basinski meets School of Seven Bells with Wanczyk lightly chanting the songs interesting lyrics. The single comes with a similar B-side, "God, Save The Queen", which features a simple and subtle organ melody, which again is accompanied by Wanczyk alone. The Audacity of Youth also has an ep released earlier last year, entitled Fallout, which hinted at the sound that Wanczyk had been moving towards. His latest single shows much promise for Departed, which according to Wanczyk will be released towards the end of 2012. Listen to "God, Save The Queen" below.

Facebook
Bandcamp

The Daily Blair: Martin Luther King Jr Day and Freedom

2012-01-16T18:19:00.018-05:00

Today we celebrated Martin Luther King Jr's birthday with parades, music, dancing, conversation, and lots of basketball games. I still always have felt like we owe this important of a man and this important of a movement more than just a single day though. We owe freedom more than a parade, we owe equality more than a song, we owe opportunity more than a dance, we owe dreams more than one conversation, and we owe Civil Rights more than one dribble of a basketball. So I have tried to do my part by putting together a list of songs over the past 42 years that have demonstrated Martin Luther King Jr's message of freedom, opportunity, equality, and Civil Rights.*

*Songs that do not have descriptions are just awesome songs*

1969: The Beatles- "Here Comes The Sun"
The sun always comes up. Even when you had the worst night of your life, even when life just seems like an endless struggle, even when you have no hope, and even when you feeling dark- the sun is always going to come up and we can do nothing about it except stare in quiet awe. Martin Luther King Jr and the Civil Rights movement faced a lot of opposition: violent opposition, verbal opposition, moral opposition, and a political opposition. But I think MLK always knew that the sun was going to come up for him and his movement and that is why he kept fighting. And the end result is the revolving door definition of equality that we continue to live in today. MLK's fight and determination made sure the sun was possible for millions of people.

1970: Van Morrison- "Into The Mystic"
What is a Blair Chopin list without a Van Morrison song? VM for me has always been the human symbol for freedom: his facial hair, his lyrics, his instrumentation, his album covers, and his songs have always ozzed what the stars and the stripes are supposed to stand for. "Into The Mystic" has always reminded me of the freedom to love, the freedom to pursue love, and the freedom to fail in love. Martin Luther King Jr. made sure that African-Americans had all of these opportunities.

1971: John Lennon- "Imagine"
You can call "Imagine" the ultimate #atheistanthem, but I have always viewed it as a call for togetherness. It is a call for people of different races, different ethnicities, different political parties, and different nationalities to come together and fight for the common good. MLK Jr. also called all kinds of different people together to fight for Civil Rights. He made peace something that was more than "imaginary."

1972: Neil Young- "Heart of Gold"
1973: Marvin Gaye- "Let's Get It On"
1974: Joe Cocker- "You Are So Beautiful"

1975: Pink Floyd- "Wish You Were Here"
Pink Floyd were progressive rock and Martin Luther King Jr made progression possible. Enough said.

1976: Fleetwood Mac- "Go On Your Own Way"
1977: Meat Loaf- "Two Out Of Three Ain't Bad"

1978: Gloria Gaynor- "I Will Survive"
One of the more humbling things about life is that you are still here and reading this paragraph. While people are dying of by the dozen at the snap of one of our little fingers- we are still here and we are still able to do whatever the hell we want to do and pursue whatever the hell we want to do. When you think of all the people who have died and all of the times that you should have died, life itself becomes a consistent opportunity instead of being a consistent burden. I think Martin Luther King Jr always had the "Hey as long as we are here we might as well do something!" attitude and it gave him a life full of important accomplishment and made sure that even in death he survives. He survives in every street that is named after him, every black and white marriage and friendship, every minority that will vote in this November's election, and anyone that has a hope and anyone that has a dream. MLK's humbleness in life gave him a life past his life. That kind of impact is beyond significant- it is borderline genius.

1979: Led Zeppelin- "All My Love"

1980: Genesis- "Misunderstanding"
I have always claimed that I am misunderstood. Only a few people understand my jokes, the way I act, my beliefs, why I do the things I do, and why I spend so much damn time writing about weird topics. But it is humbling to think of something that was misunderstood to the point of Martyrdom like Martin Luther King Jr. and the Civil Rights movement. I am pretty sure that I will never be that misunderstood and that my death will never result in something so beautiful, life changing, and significant. The thought of the man Martin Luther King Jr. was is beyond humbling- it is almost spiritually life changing.

1981: The Police: "Every Little Things She Does Is Magic"

1982: Michael Jackson: "Billie Jean"
A lot of people will put Michael Jackson and Martin Luther King Jr's significance in a lot better "terms" than I am about to put it in. But I think Michael Jackson essentially made black culture mainstream: he made what African-American sang and said important to a wide audience, he made the way African-Americans danced cool, and he killed all of the 1960's stereotypes about African Americans. I think Martin Luther King Jr. made it possible for Michael Jackson to reach a mainstream audience, to be "cool," and to kill all of the 1960's stereotypes about African Americans.
1983: Cyndi Lauper: "Girls Just Want To Have Fun"

1984: Chicago: "You're The Inspiration"
Just about everyone needs motivation and inspiration. Just about everyone needs a purpose and the others purpose is to live a purposeless life. But most of us need a reason to wake up in the morning: for some of us sex is the motivation, for some of us our work is the motivation, for some us our family is the motivation, for some us our "haters" are our motivation, and for some us reading MuzikDizcovery is the motivation. But we need to be motivated and we need to be inspired. Martin Luther King Jr. has motivated and inspired so many people just by his sheer existence that it is incredible. He might not be the reason many people get up out of bed in the morning but he might actually be the reason many people have a bed to get up on. He often times isn't the motivation and the inspiration, but often times he is the reason we are able to think of what motivates us and what inspires it. He goes beyond be motivational and inspirational.

1985: Aretha Franklin- "Freeway of Love"

1986: Run DMC & Aerosmith- "Walk This Way"
We always had that weird cement line in mainstream music. The blacks made their music and the whites made their music. The black people loved the black music and hated the white music and the white people loved the white music and hated the black music. This song brought the black and white cultures together- it made it cool for white people to like black music and it made it cool for black people to like white music. It ended musical stereotypes and promoted harmony and togetherness in a weird way. It was "I Have A Dream" in the form of a mediocre pop song.

1987: U2- "With or Without You"
U2 have always made the kind of music that sounds like it should be the soundtrack to some sort of mission trip or movement. Their music is peaceful but still has a purpose, it is forceful without sounding forced, and it is beautiful without being cliche. U2 "With or Without You" shows the quiet determination of Martin Luther King Jr. and the Civil Rights- "we are going to get this done- with or without you, we are going to change the world- with or without you" was the message and the motivation behind the Civil Rights movement.

1988: Taylor Danye- "I Will Always Love You"

1989: Phil Collins- "Two Hearts"
Love has always been the most effective message. In a world of depressions, recessions, and people not wearing any protection, it seems like love is the only positive message we can give and the only positive message that we can receive with any comprehension. The power of what people who love each other can accomplish is almost beyond belief. MLK Jr. understood this and that is why he created a freedom movement based off of "peaceful resistance" instead of a movement based off of senseless violence.
1990: Mariah Carey- "Vision of Love"

1991: Styx- "Show Me The Way"
Regardless of your thoughts on religion, the idea of heaven has to fascinate you to a certain extent. Even though I am fascinated by the thought of everlasting bliss, I am more fascinated by the idea that we can create a heaven on earth. I think MLK was fascinated by this idea as well and this is one of the reasons he promoted equality and basic human rights. We cannot create a utopia on earth if we do not have some equality. MLK made the thought of a "heaven on earth" possible.

1992: U2- "Love"

1993: Radiohead- "Creep"
A great thing about being an American is that you have the freedom to fail and the freedom to feel like a failure. "Creep" is being depressed for the sake of being depressed, being depressed at the sight of conformity, and being depressed because you have the freedom to be depressed. MLK gave African-Americans the freedom to feel something other than indifference, even if that feeling was creative sadness.

1994: Nirvana- "About A Girl"

1995: Pearl Jam- "Better Man"
The most important thing about Martin Luther King Jr's life is that by telling us to accept all people he made us "better men." This song is about striving to be a "better man" and that is something MLK helped us all do.

1996: Oasis- "Champagne Supernova"

1997: Radiohead- "No Surprises"
"No Surprises" is about being worn down by Capitalism and the struggles of middle class life. It is about not wanting to wake up for that job, it is about not wanting to take care of your family, not wanting to "play politics," and not wanting to be who everyone expects you to be (I just saw that commercial.) But really most pre 1970's African-Americans just wanted the opportunity to be worn down by Capitalism. They wanted the opportunity to wake up for a job they hated, they wanted an opportunity to be able to take care of their family, and they wanted to be what everyone expected the middle class person to be. They just wanted a chance. Martin Luther King Jr. gave them that chance.

1998: Aerosmith- "I Don't Wanna Miss A Thing"
The pre 1970's African American was missing out on a lot of things. He was missing out on the opportunity to use the best facilities, he is missing out on the opportunity to have the best job, he is missing out on the opportunity to get the best education, he is missing out on love, and he is missing out on having a good life in general. Because of Martin Luther King Jr. now most willing African-Americans do not have to miss a thing. They can have a job, they can have the best facilities, they can go to school, and they can find love.

1999: Outkast- "Rosa Parks"

2000: Third Eye Blind- "Never Let You Go"
"Never Let You Go" showed us the youthful joy of finding a first love. But how was an African-American supposed to experience this youthful joy during Martin Luther King Jr's time? Everything around him was segregated, everyone around him was a racist, everything around him told him to give up, and everyday was just an opportunity to suffer. MLK Jr. made sure everyone could experience the peaks and valleys of love.

2001: Lee Greenwood- "God Bless The USA
It is tough to think of POSITIVE things about September 11th. It turned us into a fearful nation, a nation without privacy, a nation of two wars, and a nation suffering through an economic recession. It is hard to think of any positives that happened in the aftermath of September 11th, because we are constantly suffering through the negative effects of the tragic event. But I think one of the positives was how everyone came together after the event. We realized just how important every second of every day was. White kids held the hands of black adults, Christians hugged Jews, the rich held the poor, and the Democrats loved the Republicans. Everyone came together. MLK Jr. would have wanted everyone to come together.

2002: R. Kelly- "The World's Greatest"
Could you imagine an African-American in 1963 imagining he was the world's greatest at anything? How was he supposed to believe he was the greatest in a world were everyone spit on him and everyone segregated him for no reason? Was he supposed to think he was the world's greatest stepping stone? Now thanks to MLK anyone in the world can think they are the greatest at something. Like R. Kelly is the world's greatest urinator.

2003: OutKast- "Hey Ya"
"Hey Ya" has always been just three minutes and fifty five seconds of pure joy. It is a joy that does not make sense, it is joy without reason, and it is joy that is unconditional. For African-Americans in Martin Luther King Jr's time this joy was a rare as a clean bathroom. Now they have the same opportunity at this joy that anyone else has.

2004: Modest Mouse- "Float On"
Something about "Float On" is just so damn peaceful. I know it is supposed to be about how boring and how insignifigant we are, but sometimes being boring and insignifigant is the most peaceful thing there is in life. I mean is there anything better than getting that same first kiss that everyone gets? Is there anything better than writing that good paper that everyone writes? Is there anything better than renting that same apartment that everyone else is probably renting somewhere? Well for a well African-Americans did not even have the chance to "Float On." Martin Luther King Jr. made sure they could also get there chance at the boring and somewhat insignifigant.

2005: Coldplay-"Speed of Sound"
All of the other top 100 songs in 2005 sucked. To quote Martin Luther King Jr: "And when all of the rest of the music sucks, I want you to stand up and pick Coldplay! Stand up for yourself!"

2006: James Blunt- "You're Beautiful"
We identify individual beauty so easily that it is almost disturbing. We live in a culture that is so shallow that the two phrases men say the most are "I'd tap that" and "Hold on bro let me check my fantasy team!" It used to be that black men could not even dream of calling another woman "beautiful" though and they probably could not even dream of checking their fantasy teams! Anyway this song just describes a beautiful woman who was probably white. Before MLK "humanized" African-Americans they probably had to stare at any MILF'y white mamas with their chin up. Thanks MLK

2007: Plain White T's- "Hey There Delilah"
We now believe that marriage should be between "love and love," before that we believed it was between "a male and a female," and in Martin Luther King Jr's time some ignorant people believed it was only supposed to be between "white males and white females." We now of course believe that this belief is ignorant but in MLK Jr. time it was accepted in a weird way. Martin Luther King Jr. humanized African-Americans to make sure they were treated equally to their fellow man and that they could enjoy every type of love and pleasure possible. Even the long distance love described in "Hey There Delilah."

2008: Kid Rock- "All Summer Long"
Sometimes the simplest pleasures get lost on us. The pleasures of friendship get lost in work, the pleasures of relationships get lost in futile arguments, the pleasures of going out get lost in unemployment, and the pleasures of religion get lost in tragedy. In the 1960's it was tough for African-Americans to have any pleasures and they could not even imagine having simple pleasures in a time filled with this much struggle. Now because of MLK Jr's work African-American's can TRY to enjoy the simple pleasures in life that Kid Rock talks about in "All Summer Long."

2009: Coldplay- "Viva La Vida"
"Viva La Vida" is basically a song about ruling the song and finding God in everything. During the 1960's you could imagine that it was tough for African-American to even fathom coming close to ruling the world and seeing God in anything but his Bible and his church. Now in 2011, we have a black president and we have an entire "black culture" (BET for example.) It is becoming easier and easier for African-Americans to dream about ruling the world and believe in HIMSELF and GOD.

2010: Eminem- "Not Afraid"
Martin Luther King Jr's dream went hand in hand in a weird way with the American dream. He was making sure African American's had basic rights so they could have the two and half car garage, the two and a half kids, and the two and a half mistresses. Martin Luther King Jr. had to make sure that African-Americans not only had basic rights but that they were "Not Afraid" of going out and accomplishing their dreams. He did both of these to the best of his abilities.

2011: Jay-Z and Kanye West: "Niggas In Paris"
A lot of people having the wrong perception about Watch The Throne. They think that it is wrong to make an arrogant album that brags about how much money and how many women you have in the middle of any kind of economic or social turmoil. That is totally the wrong point of view to have. In a recession we need proof that we can become rich and in times of turmoil we need reassurance that at least one person was happy. Now one can make an argument that MLK Jr would not have liked the use of the N-word in the song title, but he would like to know that the black man can become rich in America and would be astonished that two black men can define a culture and come close to defining a decade. This may be a bad example of Martin Luther King Jr's dream being lived out, but it is still an example. Two black men had enough money to go to Paris, had enough fame to brag about it, and had the chance to make the most important song of the year.

Until tomorrow.

Album Review: Anthony Green - Beautiful Things

2012-01-15T15:31:00.004-05:00

Album Rating: B+

It isn't too terribly difficult to notice that Anthony Green's career thus far has essentially been the antithesis to that of former label-mate Jonny Craig. Though both are (generally) heralded as unique, show-stealing vocalists in their respective genres, Green has certainly handled his talents more appropriately. Where Craig fell ungracefully out of favor with bandmates in potential-laden Dance Gavin Dance, only then to flop desperately around the scene - first in trying to fan the flame of some far less impressive groups (including his own solo work) then in fronting a pathetically executed internet scam - Green made some much less juvenile moves. After leaving a promising young Saosin, the talented young Pennsylvanian founded Circa Survive back in 2004 and damn well ran with it, pumping out a triad of very well-received LP's over the next seven years, and doing so alongside side projects and solo work. Beautiful Things is but the next well-placed manifestation of said solo efforts, effectively sating the palates of eager fans anticipating news of an additional Circa Survive release.

From the spaced-out guitar lines of Juturna to most recent LP Blue Sky Noise and its demonstration of Circa Survive really coming together as a band, Green's voice has stood confidently atop the efforts. Not surprisingly, his solo work maintains the same focus around his brazen pipes, with 2008's Avalon offering listeners a chance to hear him alongside more bareback instrumentation. Beautiful Things follows in the same vein, with Green's inimitable vocals soaring high above its more grounded slow-jam accessibility. Where Avalon had a few real standout tracks, with 'Dear Child' presenting itself as one of Green's finest moments to date, Beautiful Things remains more consistent throughout. And while nearly all of its songs are anchored in their frontman's undeniable talent, tracks 'If I Don't Sing' and 'Get Yours While You Can' make a point of showcasing his incredible vocal range.

If one critique can be made of Beautiful Things, it would be its failure to take advantage of some key opportunities. With longtime friends and tour-mates in Philly-based Good Old War, Green's been witness to some of the most immediately lovable records in modern indie/folk. And with such talented musicians for friends, one can't help but think that a record like Beautiful Things would be a perfect stomping grounds for the parties at present to really throw something incredible together between Green's vocals and G.O.W.'s inviting folk sentimentality. Tracks like 'Just to Feel Alive' and 'Blood Song' seem to be on the pretense of testing such waters, with casual and warm sing-songing laid atop a backtracks that could have come right out of Only Way to Be Alone. It's this incredible potential and the fact that Green seemed to be fully aware of its existence, yet chose not to exercise it, that keeps Beautiful Things from really leaving a footprint. Even so, it's tough for a listener not to become blissfully entrapped in the record; getting lost in Anthony Green's enchanting voice really is an effortless task.

If one final remark may be made regarding Mr. Green, it is to assure that he is a man of his word. Beautiful Things lives up to its title - contained within the forty-one minutes are magical moments aplenty, presented to the audience via one of the most formidable frontmen in modern music. In a scene where boldface fonts and Macbook scams run amok, one would have to admit that such integrity is pretty damn refreshing.

Album Review: Cloud Nothings - Attack On Memory

2012-01-15T10:44:00.001-05:00

Album Rating: A

Maturity is a very loosely interpreted term used in reference to music. What exactly makes a band mature? When reading criticism it is notable that maturity tends to be directly proportional to the somberness of the music. When The National released High Violet back in 2010 to shining reviews, writers threw the term 'maturity' a lot, solely because the music was significantly less upbeat than their previous efforts, almost as if the members themselves had grown up (despite most of them being in ther 40's). But when I think of a bands maturation, I think of them as finally finding their sound and defining who they are as musicians, which I think is how the term should be interpreted. In this sense, 20 year old Dylan Baldi's pop-punk outfit Cloud Nothings, hailing from nothing but a knack for catchy pop hooks and some lo-fi recording equipment and evolving into a dark, jam-prone emo powerhouse on their sophomore effort, Attack On Memory, has definitely matured in every sense of the term.

Cloud Nothing's self-titled debut, recorded by nobody but Baldi alone, definitely already seemed like a mature release. Baldi definitely knew what he was doing, and sounded like he was content with continuing in the poppy and youthful and almost radio-friendly direction he was already headed. Anthems such as "Should Have" and "All The Time" would sound golden in the ears of the Tom Delogne worshipping teenagers of today. On his sophomore effort, recorded by the legendary Steve Albini, Baldi dropped the themes of young love and other teenage emotion and replaced it with a darker and more emo driven overtone, which is immediately evident by the eerie piano line that opens up the album on "No Future/No Past". The change that Cloud Nothings has went through since their debut is almost shocking, with Baldi chanting "give up/come to/no/we're through" throughout the track and slowly building up until the track's outro, which features a screaming chorus of the track's title.

Although the music may be significantly darker, the catchy pop tunes are still there. The lead single on the album, "Stay Useless", features the usual catchy guitar riffs and song structure from Cloud Nothing's self titled, similar to the instrumental track "Separation", which really wouldn't even seem too out of place on the self titled. In a recent interview, Baldi stated his ambition to make the album a "music album" and not a "pop album", with a "pop album" being a collection of songs that you could pull out and listen to (much like the self titled, or the earlier compilation Turning On), and a "music album" being one singular experience. But one of the more significant points that he made was in reference to the album's title, saying that the record was an "attack on memory" of what people thought the band was, which it definitely works well as. The joyful, poppy Cloud Nothings that made tracks such as "Can't Stay Awake" and "All The Time" has passed, and the band has now matured into what they will now be in times to come. On "No Sentiment", Baldi harshly growls "no nostalgia/no sentiment/we're over it now".

Facebook

01. No Future/No Past
02. Wasted Days
03. Fall In
04. Stay Useless
05. Separation
06. No Sentiment
07. Our Plans
08. Cut You

Album Review: The Maccabees - Given To The Wild

2012-01-12T21:18:00.000-05:00

Album Rating: B-

It's difficult to explain to outsiders, but here in the UK we have fierce pride in our country's musical heritage which has led to an unyielding affinity to our own bands, especially those of a guitar wielding variety. From this derives our neigh on obsessive urge to uncover the next great British guitar band, and it's for that reason that when one does step to the fore we dose ourselves in satisfaction more than perhaps any other nation. Given To The Wild is scripted as the record which will elevate it's creators, Brighton five piece The Maccabees to such lofty heights. According to some, it will gain them acclaim worldwide from fans and critics alike, reinstating our nation's place at the top of the musical tree and will see them ride on a wave of commercial success currently unprecedented for a band of their ilk.

In fairness, they seem to have gotten the second half of that prediction spot on. At the time of writing, this record is on course to hit the top of the UK's album chart, usually the unshakable fortress of Adele, and a position that has only been occupied by home grown guitar groups for four weeks in the past year (and one of those as Coldplay!). It's not hard to see the album's appeal either, with huge cinematic soundscapes marking a radical departure from the their quirky beginnings and seeing them adopt a level of ambition practically unforeseeable a short while ago. It's that ambition which ultimately proves to be both the record's making and it's downfall, as it sets the Maccabees well apart from their wealth of contemporaries yet all too often gives the impression of a band simply trying too hard to make it's mark.

The shift in approach that they've taken is evident as early as the introductory title track, which presents a band unrecognisable to that which made Colour It In and Wall Of Arms, both of which had more than a whiff of landfill about them. With a warm bed of synths and a new sense of restraint, it's immediately obvious that Given To The Wild is a completely different beast, and that promise is carefully upheld throughout the album's duration. These songs are subtle, calculated and at times epic in their scope, but more often than not they seem to fall short of their intended impact. The likes of 'Ayala,' 'Heave' and 'Unknow' are all wrapped in vast swathes of potential, and although all enjoyable they never really come close to truly fulfilling it. Sadly, the only track which really does this new sound justice is 'Forever I've Known,' which acts as the record's centerpiece and releases much of it's tension with a splendid swooning riff, but too much of what surrounds it simply drifts over ones head without making all that much of an impression.

Throughout all of this Orlando Weeks is tasked with carrying the load as frontman, a roll that he hasn't the presence to fill, and as such never seems entirely comfortable in. It's telling that by far his most convincing performance comes on 'Pelican,' the only perennially upbeat song and the only one here which wouldn't seem comically out of place on either of their first two records. For what it's worth, 'Pelican' is another excellent individual moment, casting the band in their element and seeing them deliver a song with more accessibility and arguably substance than anything they've yet come out with.

Unfortunately, though, emblems of brilliance such as that and 'Forever I've Known' just aren't enough to carry a record which wants to be so much more than it fundamentally is. It's certainly one with plenty of positive traits, and hints that The Maccabees could well be capable of making a classic some day in the future, but regretfully Given To The Wild just doesn't have enough internal substance to be donned with that title. Credit where it's due - this is a huge leap forward for the band, with that future interest alone proving how far they've come. It's also clearly a project that they've invested a lot of time in, but while that dedication should be applauded this is ultimately the type of record that one can waste hours over trying to love when in reality there's not a lot to justify such endeavor.

Facebook
Myspace
Official Website

Tracklist

1. Given To The Wild (Intro)
2. Child
3. Feel To Follow
4. Ayala
5. Glimmer
6. Forever I've Known
7. Heave
8. Pelican
9. Went Away
10. Go
11. Unknow
12. Slowly One
13. Grew Up At Midnight

The Daily Blair: Fitter. Happier. Ok. Computer.

2012-01-11T23:39:00.023-05:00

It takes something really special to leave me speechless. A reverse dunk might leave me speechless, a beautiful woman that actually talks to me might leave me speechless, an eye opening "bring me to my knees" religious experience might leave me speechless, or a surprisingly tragic event in my life might leave me in a sad speechless state. It seems like I am always writing or talking about something that is of minor importance to everyone but me and that is just the way it has always been and especially when it comes to music.

But I have to confess that OK Computer has always left me speechless and with an awkward case of writer's block. I feel like whatever I write about OK Computer will not even come close to doing it justice. I felt scared that I would never be able to describe the breathtaking beauty of just about every song on this album, I felt like whatever I wrote would be an insult to something so magnificent, like my every word would be the neutering of the musical version of Michelangelo's David, I felt like every organized paragraph would be an slap in the face to the most beautiful faceless thing I have ever seen or heard, and I felt like anything I described would just be scrutinized to the point of no return. Ok Computer has always been the "jump over the car" dunk that makes you question the very existence of gravity, it has always been the girl so symmetrically perfect that her muttering "hi" is like rounding third base with a angel, and it has always been the car crash that left you bleeding on the concrete yet took you to pearly gates afterwards. Ok Computer has always been too magnificent for speech or even a whisper. Maybe it is because its sheer existence is the only review or words it has ever needed.

I knew after listening to Ok Computer one time that it was not only going to be my favorite album but it was also going to be an album that fundamentally changed my life. Ok Computer changed the way I listened to music, changed the music I listened to, changed the way I thought about people, changed the way I thought about politics, changed the way I thought about the future, and fundamentally changed what I actually wanted to try to do with my life. Without Ok Computer I am not who I am today. For years Ok Computer has given me everything without asking anything in return: it has given me an album to cry to, an album that makes me think, and an album that has fundamentally changed my life. I feel guilty that the album is so magnificent and important that I have given it nothing.

My pitiful attempt at giving back is this post. Fifteen years after its release, I feel like we can finally say that Ok Computer is the greatest album of all-time because of its high quality of songs, high quality of lyrics, concept, the flow, its moments, immediate significance, lasting significance, and it being better than all of the other "top albums." I hope this post can give Ok Computer a fraction of what it has given me over all of these years. Or I hope that it will at least remind you that something that gives this much still exists.......

1. Quality of Songs
The first reason Ok Computer is the greatest album of all-time is the high quality of song on the album. The song features ten near classic songs, eleven songs that are at least excellent, three of the most important songs of the past twenty years, and one of the most important "interludes" in recent history.

"Airbag" is the perfect opener for the album and is one of the most uplifting songs on the album, "Paranoid Android" is brilliant in its skitzophernia and serves as the albums "modern day Bohemian Rhapsody" moment, "Subterranean Homesick Alien" is the albums only "normal song" but also serves as the biggest grower on the album, "Exit Music" is a haunting epic that defines forbidden love as beautifully as any four minute and twenty-five second song could ever do, "Let Down" is the best song Radiohead has ever done and it seems to be the perfect autobiographical song for the nerdy cluster mess that is their fanbase, "Karma Police" proves that Radiohead is the only band that can beautifully roast something as complex as the entire universe, "Fitter Happier" is a misunderstood robot interlude that fits the concept of the album nicely, "Electroneering" brings Radiohead back to their rock roots and makes Thom Yorke sound like he was a prophet, "Climbing Up The Walls" is one of Radiohead's first "scary songs," as it prays on the fears in our hearts and the fears on our ears in a haunting yet still somehow majestic way, "No Surprises" is one of the most beautiful songs ever written, "Lucky" is one of Radiohead's five best songs, and "The Tourist" is a cultural defining anthem that sends the album off peacefully and perfectly.

This album has ten classic (songs that are of five out of five quality) songs ("Airbag," "Paranoid Android," "Exit Music," "Let Down," "Karma Police," "Electroneering," "Climbing Up The Walls," "No Surprises," "Lucky," and "The Tourist," a interlude that is perfect for the albums concept ("Fitter Happier,") and three all time great songs ("Paranoid Android," "Let Down," and "Karma Police.) Most albums are lucky if they have one song that is a classic, one interlude that kind of makes sense, and one song that even comes close to being an all-time great moment. Hell, most albums I consider classic albums only have a couple of classic songs. Ok Computer is MUCH better song quality wise than anything I have ever heard and that is the first reason it is my greatest album ever.

2. The Lyrics

Every Radiohead album seems to have a different feel or theme lyrically. Pablo Honey seems to have a feel of teenage rebellion and self loathing, The Bends has a brit pop feel of unnecessary optimism combined with a grungy apathetic feeling, Kid A had a "the storm is coming" feel, Amnesiac had a political feel combined with "the storm is coming" feel of Kid A, Hail To The Thief had the feel of a hard rocking political protest album, In Rainbows was the most brilliant mid life crisis ever recorded, and The King of Limbs was the sounds of a band letting go of all of the themes and feelings they had relied on so heavily in the past.

Ok Computer seems to embrace all of the lyrical themes and feeling of Radiohead's seven other studio albums. "Airbag" gives us "the storm is over" feeling of The King of Limbs combined with the sounds of some of the more experimental songs on The Bends, "Parnoid Android" seems to perfectly combine the best of the quasi political lyrical themes of Hail To The Thief, "Subterranean Homesick Alien" has the "lets just settle down until we go crazy" type of lyrics heard on Ok Computer combined with the type of sound that we might hear on The Bends, "Exit Music" has the bitter lyrics of some of Pablo Honey's more angst driven songs while its breakdown sounds like "How To Dissapear Completely" off of the brilliant Kid A, "Let Down" has lyrics that remind us of "Pyramid Song" off of Amnesiac and a sound that reminds us a bit of "Jigsaw Falling Into Place" out of In Rainbows, "Karma Police" has the biting lyrical sarcasm of all of Radiohead's albums and is a song that could be placed on just about any of Radiohead's albums outside of Pablo Honey, "Fitter Happier" has the "capitalism is keeping us down!" lyrical theme that is most prominent on Amnesiac and Hail To The Thief and kind of reminds the listener of "Pulk/Pull Revolving Doors" off of Amnesiac, "Electroneering" is basically a 1997 Hail To The Thief b side in words, structure, and sound, "Climbing Up The Walls" has very Kid A like lyrics and has the feel of something that might work well on Amnesiac, "No Surprises" simple lyrics match the more complex lyrical themes of Kid A and Amnesiac and its innocent sound kind of reminds me of "Sail To The Moon" off of Hail To The Theif or "Motion Picture Soundtrack" off of Kid A, "Lucky" has the lyrical confidence of something off of In Rainbows and the "Street Spirit" sound of one of the more experimental songs on The Bends, the lyrics on "The Tourist" remind of "Separator" on The King of Limbs just because of the "freedom even in times of war" thing they seem to represent and the song sounds like it would have been one of the last songs on Kid A. On Ok Computer Radiohead combine all of the lyrical themes and feelings that made all of their other albums so good and make a masterpiece.

Another thing that makes Ok Computer so great lyrically is just about every song has a memorable lyrical moment. The chorus of "Airbag" is extremely uplifting even though it is telling a story that is very heartbreaking, the breakdown of "Paranoid Android" is groundbreaking in its simplicity, "Subterranean Homesick Alien's" lyrics make Thom Yorke seem human, the breakdown in "Exit Music" is haunting, "Let Down" has some of the most brilliant lyrics Radiohead has ever done, "Karma Police" has the wit and sarcasm that a very serious album so desperately needed, "Fitter Happier" is a computerized summery of all the albums important themes, the last verse of "Electroneering" has some of the most aggressive lyrics Radiohead has ever done, the end of "Climbing Up The Walls" is the creepiest thing Radiohead has ever done lyrically, "No Surprises" is the most simplistic peaceful suicide note ever written, the repetitiveness of the opening verse of "Lucky" brings the album back to life, and Greenwood's lyrics on "The Tourist" seem to define this generation and the previous generation. The lyrics on Ok Computer are great because they use all of the themes and influences they perfected on their previous seven album and because one lyric or lyrical moment stands out in just about every song.

3. The Concept
I will admit to hating just about every album that is a concept album because they all try to be original by making the most unoriginal points ever. We all know that the political system is corrupt, we all know that "war is bad, mmkay," we all know that women live just to hurt us, we all know that going on a spiritual journey once every twenty-five years is of crucial importance, and we all know that cancer or sickness kind of sucks. Concept albums always try to be original by making the most unoriginal points ever and this makes what the artists thinks should be a groundbreaking album come off as "out of touch" and repetitive.

But I have always been a fan of concept albums that are original or concept albums where I have to search to find a concept or a storyline. Hospice worked because it had an original subject manner that seemed to define heartbreak with such ease. Ok Computer has a story that we have to search for and a storyline that is original at the same time and this makes it one of the more underrated concept albums of all-time. Ok Computer is about the effects of capitalism on the average man and each one of the albums songs serves as a different chapter in the story.

CHAPTER ONE: "Airbag"
In chapter one the narrator has just survived a tragic automobile accident. He is shocked that he is still alive and humbled that an "Airbag" of all things has saved his life. He promises himself that he will work hard, be a better person, and that he is actually "back to save the universe." After an "Airbag" saved his life the narrator is ready to go back to living a more effective life and be whatever society wants him to be.

CHAPTER TWO: "Paranoid Android"
Chapter two sees the narrator wondering why he was so excited to survive his accident. He figures out that we are all subjects of corporations and logos and he is disgusted by this very thought. He feels that we are all just robots of society ("paranoid androids,") he feels like we are all following pointless rules for no reason ("when I am king you will be first against the wall,") he feels like he is surrounded by a bunch of ambitious pigs ("ambition makes you look pretty ugly/kicking screaming Gucci little piggy," and he feels like all of his past mistakes and past problems are just raining down on him after a brief period of just being happy to be alive.

CHAPTER THREE: "Subterranean Homesick Alien"
When he realizes he has lost his way in a capitalistic corporate world the narrator decides that he must be the adnormal one and he kind of feels like an ailen. He feels like he cannot tell his friends anything because he is an "alien" and they will not believe anything an ailen says, he feels like he cannot share his secrets because they are too unwordly and not politically correct enough, and he feels like he has to watch his own step just to make sure he is still real. The narrator feels like he is a totally different person after surviving his accident and is now apathetic to anything happening in the outside world.

CHAPTER FOUR: "Exit Music"
The narrator finds love in a common frustration with the "logo driven" market of the outside world. He and the person he shares this common frustration with plan to escape from the pressure of this outside world by killing themselves. The first thing the narrator and his lover have to do though is come to peace with their frustration before acting on it. It seems like they can never come to peace with the frustration that will probably kill him anyway and this is why he and his partner cannot kill themselves just yet. The song ends with the same anger towards society that had enslaved the two lovers in the first place.

CHAPTER FIVE: "Let Down"
AFTER losing his Cold War to capitalism, the narrator once again tries to get along with the outside world. He tries to go out to bars and finds them to be far too depressing ("disappointed people hanging from bottles," he tries to make friends with normal people and finds that they just find him disappointing ("let down and hanging around,") he finds the feelings of people just recycled metaphors and rants from a worthless past ("don't get sentimental, it only ends up drivel,") and he finds out that he still feels like an leper spotted alien even when he is trying to make the best out of a business driven world ("hysterical and useless/hysterical and useless.") The narrator attempts to make peace with a corrupt outside world by deciding that he will never fit into the corruptness of this outside world. He decides that maybe they should all be killing themselves instead.

CHAPTER SIX: "Karma Police"
THE Narrator begins to find hope and peace in the fact that there just might be an afterlife. He feels like all of the people who are successful subjects of society right now will be unsuccessful subjects of the afterlife. The people described in the first verse will be arrested by the "karma police" and will be doomed for eternity. He also feels like the good karma he is building up will never be enough ("we're still on the payroll") and he feels like his only satisfaction will be seeing these people suffer in their own egotistical hellholes ("this is what you get.") After a while though the narrator realizes that all of this ferocious anger is probably not good for his own karma and decides once again to give being "normal" a chance ("phew for a minute there I lost myself, I lost myself.")

CHAPTER SEVEN: "Fitter Happier"
Chapter seven shows that the author has bought into the corporate capitalist world out of his sheer desire to not be an alien. He has everything that the outside world is good and is working towards everything that the outside world says is good but he still feels very empty. He has the "American Dream:" two and a half garages, two and a half kids, two and a half women, two and a half gym memberships, two and a half animals, two and a half close friends, and two and a half Bibles scattered throughout his mansion of misery. But he feels like since he has conformed to the most innocent of conformity he has lost the half of the heart he used to have in his state of denial. He knows that accepting the world that the world wants from him is the only way to survive so he plans on continuing to live a life where he is a robot on "their" string.

CHAPTER EIGHT: "Electroneering"
Chapter eight shows him angry not only at the people who sham less conform to the capitalistic system but the people who enforce the capitalistic system. This narrator is searching for the root of his angst and he aims his anger at the politicians who set up the capitalist system that the puppets so ignorantly have to abide to. He says that the politicians will continue to move the world "backwards" while using technology as a cover up to say that it is actually going "forwards." In a world where you are either going forwards or backwards the narrator is on a shameless and somewhat selfish quest for neutrality. He just keeps wondering if he can move "forwards" and "backwards" will retaining the mask of a life he set up in the seventh chapter.

CHAPTER NINE: "Climbing Up The Walls"
Chapter nine shows the evil that the system has made the narrator do. The narrator has turned into a murder, a kid napper, and a thief because he feels the need to murder the people who shameless conform to such a halfhearted system, he feels the need to save the children before they see the corrupt nature of the world, and he feels the need to murder the possessions that have replaced morality in the world he is living in. He feels that if he cannot escape he should give other people the chance to escape. The author is at his last resort in chapter nine and he feels his only escape is doing the charitable act of helping other contaminated yet innocent souls escape from the dark of the world into the blinding light of the afterlife.

CHAPTER TEN: "No Surprises"
The narrator does not feel charitable after his actions in chapter ten so he finally plots his personal escape. The narrator knows that the only place without government, the only place without jobs, the only place without kids, the only place without capitalism, the only place without alarms, and the only place without surprises is the afterlife. The narrator has accepted that the only place where he can be a good person is the afterlife. He has accepted that the only place where he is not going to be a robot or is not going to be an alien is the afterlife. In chapter ten the narrator finally decides to kill himself because he knows that it is the only way for him really to live.

CHAPTER ELEVEN: "Lucky"
After the narrator kills himself in chapter eleven he begins to relish the second chance that he has in the afterlife. He finds love, he finds himself as a "superhero," he rejects calls from the "head of state," he is "standing on the edge," he is saving people's life, and he believes that everyday suddenly has a glorious purpose. He has been reborn by the act of dying. He feels like maybe he should have been dead the whole time.

CHAPTER TWELVE: "The Tourist"
The narrator suddenly feels sad for the people on earth. He feels the need to tell them how they should be living. He wants them to escape from the businesses, escape from the paychecks, escape from the technology, escape from the pain, escape from the pressure, and just "slow down" and find happiness outside of the system that is at best a crutch and is at worst a killer. He wants them to get away from their "spiders" and he wants them to find the happiness that he thought was only possible in a utopia or in an afterlife. The novel ends with the narrator pleading for the world to slow down or to just go with him into this world where everything seems to move at a perfect pace. Even after fleeing mankind, the narrator still believes in mankind. He just wants a mankind that is his "heaven on earth."

4. Flow
A concept album also has to flow like a chapter book. Ok Computer does not work if all of the tracks do not flow together perfectly and it is a remarkable acheivement that all of the tracks on this album did actually flow together. The screeching final riff of "Airbag" flows nicely into the opening beeps and acoustics of "Paranoid Android," the powerful guitar solo of "Paranoid Android" flows into the laid back riff of "Subterrean Homesick Alien," the laid back final riff of SHA flows nicely into the opening acoustic riff of "Exit Music," the final words and soft acoustic riff of "Exit Music" flow into the fast paced start of "Let Down," the electronic final seconds of "Let Down" flow into the piano and acoustic driven opening moments of "Karma Police," the chaotic end of "Karma Police" flows nicely into the robotic lyrics of "Fitter Happier," the distorted instrumentation of "Fitter Happier" flows into the powerful opening riff of "Electroneering," the solo at the end of "Electroneering" flows magnificently into the "cricket sounds" of "Climbing Up The Walls," the creepy ending of "Climbing Up The Walls" flows into the lullaby sound of "No Surprises," the beautiful ending of "No Surprises" flows into the spacey opening moments of "Lucky," and the electric final moments of "Lucky" flowed into the soft opening moments of "The Tourist."

This album flowing together so mangificently is of crucial importance. It means that the storyline of chapter one going into chapter two actually makes sense and it also adds credibility to an album that already has ten classic songs, eleven excellent songs, three timeless songs, and a compelling story. Ok Computer flowing together perfectly despite its diverse influences and stylings is one of the many reasons it should be consider the greatest album of all time.

5. Moments
All of my favorite albums have a moment of greatness. I'm Wide Awake Its Morning had the closing riff of "Road To Joy," Aim and Ignite had the closing moments of "At Least I'm Not As Sad As I Used To Be," The Devil and God had the breakdown of "Jesus," Kaputt had the opening minutes of "Suicide Demo For Kara Walker," and The White Album had the chaos of "Helter Skelter." These are moments that made the album classic and made the album important to me.

The thing that separates OK Computer from those albums and from any other album that says it is a "classic" is that it has a classic moment on every single song. Anytime I listen to any song on Ok Computer I get the shivers, I feel new, and I feel like each moment gives the song a purpose and makes every song on here at least excellent. Here are the moments I am referring to:

A. The Chorus of "Airbag"
B. The "Rain Down" part of "Paranoid Android"
C. The "Uptight" chorus of "Subterrean Homesick Alien"
D. The Final Moments of "Exit Music"
E. The Breakdown and "Don't Get Sentimental, It Only Ends Up Drivel" Parts to "Let Down"
F. The "Phew For A Minute There" Breakdown To "Karma Police"
G. Just How Damn Weird "Fitter Happier" Is
H. The Chorus To "Electroneering"
I. The Screams At The End of "Climbing Up The Walls"
J. The Opening Verse of "No Surprises"
K. The Final Lyrics To "Lucky"
L. The Last Chorus of "The Tourist"

6. Immediate and Lasting Signifigance
The really cool thing about Ok Computer is that it has really already defined or is currently defining three eras: the pre Y2K era, the post 9/11 era, and the technology driven era that we are currently live in.

When the album was released the world was changing. Everyone feared Y2K and their computers dying more than they fear a car crash and actually losing their own lives, relationships and happiness were minimized as people began to living on machines, corporations, oil companies, and politicians owned a world that used to be owned by "the little man," and people lived out of fear of everything except things that they were actually logical to be in fear of. Ok Computer seems to define this changing world perfectly. The album speaks of a world where the average man is overwhelmed not only by responsiblities at home but responsibilities in a technological world he knows nothing about, the album speaks of fearing illogical things when really the only thing we should fear is the system that we so cluelessley and blindly follow, the album speaks of corporations dominating the world and the people actually working feelling powerless, the album speaks of not being able to deal with change, the album speaks of depression so deep that death is the only way to escape, and the album speaks of peace only found in slowing down. With Y2K approaching it seems like people always wanted to slow down but due to changes in the world could only speed up and accept their pitiful fates. Just about every song on Ok Computer speaks of this helplessness found in our sheer existence.

After 9/11 it seemed that the only logical response to every thing around us was fear. We thought that every second was just another second we could be attacked, we thought that every minute was just a minute closer to nuclear war, we thought that everything evil in the world had won, we thought that chaos had finally won out and replaced normalcy, and we thought that everything we had worked for was meaningless. We began to distrust the politicians that may have let this happen, we began to be cynical towards the people we used to give chances to, privacy was waterboarded and executed with a fair trial, we began to divide into classes and races instead of realizing that humans were just one class and race, and the only time we felt comfortable was when we were green dots on computer screens. We had unknowingly become the narrator in Ok Computer.

Now it seems like we have just accepted it. We have accepted that all we are is dots, all we are is unread texts, all we are is clothes purchased off of websites, all we are is unemployment checks, and all we are is transportation that takes us from one futile place to another. Ok Computer spoke of the horrors of a technological and technology driven world and now we are living in that world with false glee and even falser hope. We have accepted this world just like the narrator accepted it in the seventh chapter of the novel. We are trying to find a way out by separting our classes into percentages and preaching things we could never practice but maybe the only way out is discovering the utopia of the afterlife. Or maybe we just all need to slow down.

7. It Is The Best Album of All-Time
Before you scoff at that last sentence ask yourself these questions:

1. What other album has ten classic songs?
2. What other album has eleven excellent songs?
3. What other album has three game changing songs?
4. What other album can combined lyrical styles from seven of a bands other albums?
5. What other album has a lyrical moment in just about every song?
6. What other album flows together while having 12 different sounding songs?
7. What other album has 12 defining moments?
8. What other album has helped define three different eras in history?

The only album for me has been Ok Computer. And that is why I think it is the greatest album of all-time.

Album Review: Howler - America Give Up

2012-01-11T20:54:00.001-05:00

Album Rating: B+

A warning in advance: if you're not a fan of reviews which repeatedly reference and make comparisons to other bands, then you're probably best off stopping here. Such an approach can admittedly often seem lazy and somewhat dismissive, but the fact of the matter is that it's simply not possible to give an accurate account of these Minneapolis newcomer's music without making parallels with acts already established. Let's get this out the way; Howler couldn't sound more like The Strokes if they tried. Hey, maybe they do try; that would certainly go some way towards explaining why they've chosen lo-fi garage rock with vocals which sound like they've been recorded from within a tin as a career path, but in all fairness, they execute their aping of the New York legends with considerable style.

Yes, the bottom line is that for its derivation and at times near plagiarism, the quintet's debut LP is in fact an excellent collection of songs, written and performed by what is evidently a group of excellent young musicians. America Give Up is ram-packed with youthful effervescence, delicious distortion and seductive sentimentalism, but at the end of the day it's the tunes that albums like this are judged on, and by God have Howler got some. The two tracks that have made the cut from last year's EP, 'This One's Different' and 'Told You Once' are obvious highlights, as is current single 'Back Of Your Neck.' All three explicitly showcase their natural ear for a killer hook and execute those ideas to perfection, with each one an absolute shoe in to become inescapable anthems at the height of this year's festival season. The likes of 'Wailing (Making Out)' and 'Beach Sluts' aren't far behind, but in truth there's not a dud amongst this album's eleven tracks, and at 32 minutes there's little to no excess fat weighing it down.

It's these overwhelmingly positive traits which make it so easy to overlook Howler's blatant deficiencies, most of which stem from the fact that they're basically rehashing the material of a seminal band who made their telling impact over a decade ago. You can even forgive frontman Jordan Gatesmith for at times sounding so much like Julian Casablancas it's genuinely unsettling ('Pythagorean Fearem' is the chief offender) purely on the basis of the blissful songs that he and his bandmates have crafted. They're not the first, and doubtless won't be the last to feed from The Strokes lasting legacy, but crucially, they do it far, far better than most, and if they can forge a career from it, then good for them.

America Give Up is released on January 17th, and is currently streaming here.

Facebook
Myspace
Official Website

Tracklist

1. Beach Sluts
2. Back To The Grave
3. This One’s Different
4. America
5. Too Much Blood
6. Wailing (Making Out)
7. Pythagorean Fearem
8. Told You Once
9. Back of Your Neck
10. Free Drunk
11. Black Lagoon

Album Review: Black Taxi - We Don't Know Any Better

2012-01-11T14:15:00.000-05:00

Album Rating: A-

Every so often, a little known band comes out with an album which begs one to question how they remain in such obscurity. Black Taxi's second, We Don't Know Any Better is one of those records. Having already made a name for themselves on New York's underground circuit, the Brooklyn quartet excelled on debut set Things Of That Nature, playing a brand of indie pop which was vibrant, exciting and at times sensational. Even more impressive, though is the extent to which this sophomore betters it's predecessor, showcasing the rapid progression of this excellent group of musicians and displaying just why they're one of the most exciting bands currently doing the rounds.

There are no drastic changes, heightened ambitions nor brilliant individual or collective improvements apparent here. Really, all that this record's excellence has resulted from is the band polishing up each and every aspect of their sound, and in doing so conjuring some of their finest and most engrossing songs to date. The record's sound derives from a wide variety of sources, so much so that it could almost be seen as an ode to some of the best indie pop that's surfaced in the past decade. Franz Ferdinand's seductive swagger is evident throughout, as is the effortless cool of latter day Belle & Sebastian, with shades of The Shins and even hints of MGMT's wandering psychedelica also making an appearance. Don't begrudge them for these similarities, though, as they toe the line in the best way possible, with a group of songs that any of the aforementioned bands would be proud to put their name to.

Nowhere is this more true than on the title track, an irresistible slice of noughties dance-punk which displays practically every positive trait that Black Taxi have in their armoury. Less than a fortnight into 2012, it can genuinely be stated that you'd be hard pushed to find a more addictive song all year, and along with the splendidly streamlined lead single and opening track 'Tightrope' it makes for a truly wonderful start. Although not always to such a high standard, there are other similarly fabulous moments, such as the startlingly simplistic yet melodically perfect 'Friend,' and the spellbinding loops of 'Tell Me What You Need,' but ultimately every song here is front loaded with astoundingly catchy guitar hooks which are simply guaranteed to pitch their camp in your brain's jukebox. Even chilled closer 'Hope I Never Know,' which stands out like a hipster at a Britney concert can be forgiven for betraying the flow purely on the strength of it's chorus, which provides one last moment of bliss for which the album can be remembered.

Indeed 'memorable' is an adjective which complements this record perhaps more than any other, such is the strength of it's appeal. These aren't songs written by your average band from New York's underground, these are masterful and sophisticated nuggets worthy of some of the best releases of the year, and barring something spectacular We Don't Know Any Better will be right up there in the indie-pop stakes in eleven months time. Unbelievably catchy from the offset, it's a record that pulls you in on first listen and only strengthens it's grip with repeated spins, and ultimately is one deserving of so much more attention than it will inevitably receive.

We Don't Know Any Better is released on Saturday (January 14th). If that's too long to wait, 'Tightrope' is available as a free download from their Bandcamp page.

Facebook
Myspace
Official Website

Tracklist

1. Tightrope
2. We Don't Know Any Better
3. Hand
4. Becoming
5. Friend
6. Vultures
7. Do What You Gotta Do
8. We'll Take Another
9. Balloons On Barbed Wire
10. Holding Onto Nothing
11. Politics
12. Tell Me What You Need
13. Hope I Never Know

Artist Spotlight: The Saddest Landscape

2012-01-10T22:17:00.004-05:00

The Saddest Landscape has been making a name for itself since its 2010 album, You Will Not Survive. And although I personally really dug the dark, melancholy feel, I'll admit it didn't tear down conventions. What it did do, however, was display the potential of a wonderfully creative group of young men.

You Will Not Survive was pretty much the definition of a solid album, coasting along and never resting on its laurels. It was enough to garner the attention of a lot of followers of the genre, with the "blogoshere" chatting about them for the last several months. All of this talk is mainly about the band's upcoming record, After the Lights. With the short time I've spent with the album, I can safely say this is something one may want to keep on radar. It retains the fierce, murky undertones of their previous record, while adding some beautiful sections as well. It's powerful stuff for sure, but for those who've been following the band, that shouldn't come as a surprise.

After the Lights will be dropping on February 14th, so be sure to check it out then!

Facebook

And check out a bit of You Will Not Survive here, if you have not already.

Interview With Aficionado

2012-01-09T18:23:00.001-05:00

Amongst the sadness that is Thursday's last tour as a band, the tour also features a couple of rising gems. Aficionado is one of those bands, as they recently released their first record on No Sleep Records, which got a pretty solid review from MuzikDizcovery, as well as landing on Kyle Spalding's favorite albums of the year list. The band agreed to sit down with us and answer some questions, involving the No Sleep Records subscription, having a flautist in the band, having seven members in the band, the band's upcoming writing process in February, and much much more, which you can read below.

Firstly, can you introduce yourself?

I am Nick, from Aficionado.

The self titled was released over the summer. Has the record brought the kind of pull and appeal that you planned on it having?

Yeah. To a lot of people we were a very new band. When we released it, we’d only released one EP on No Sleep and only been signed for about a year, and we hadn’t done a ton of touring. So when we released the album we just wanted to create a little bit of buzz so people became familiar with what we were doing. We didn’t expect a huge crazy reaction at first when we put it out, but since then we’ve gotten some pretty awesome tours, and we’ve gotten to go on tour with some people that we’ve grown up being influenced by and people that we really respect musically, and that’s been awesome. We’ve been out with Tim Kasher from Cursive, and Travis from Piebald, and as time goes on we get more and more cool tours. In releasing the album, it afforded us the opportunity to really get out there. Touring is our favorite part of being in the band so I think the album definitely was what enabled us to do that.

You opened for one of your Facebook influences (Tim Kasher of Cursive). That isn’t the only time you’ve worked with artists that may be influences of you. Travis from Piebald was featured on “Honesty”, and now you’re opening for Thursday on what may be their last tour. How did all these collaborations come together?

The day that we got the email to go on tour with Tim Kasher, I was floored. Cursive has been a band that since I was young, has been huge for me. Some of the songs that Tim writes have been the songs that mean the most to me. We’ve also had really really good luck with all these people that we’ve looked up to and getting to go on tour with them and having them be awesome. Tim was great, and his band was great, and they were super nice to us. It’s cool to realize that the people that we look up to are good people and are exactly how we want them to be. It sucks when you like someone your whole life and you grow up to realize that they’re shitty, and you were too young at one point to realize that. With the Tim tour, he was great, and was awesome to us. With Travis, he came into our van, and it was great. He was super down to earth and now we’re really good friends with both of those people.

The band has seven members, which is much more than the majority of bands out there. Especially for a smaller touring band, having seven members must make the living situation very difficult. The tour profits have to be split through all of you guys, not to mention the van must get pretty crowded. Do you think that the fact that you have seven members makes things tougher?

I understand why people would assume that, but actually not at all. Even at home, we live like we’re a family. We’re all best friends, and we’ve been best friends for a really long time. It’s just what our band is. We don’t know anything else, and it’s not an inconvenience. We have seven people in the band, and two people on tour with us. We have had the mentality for at least the past five years that “the more, the merrier”. We want to be like a travelling party on the road. Those are my friends. Those are the people I consider my closest friends and family. When we play a show without a member, I feel like we’re missing a key element to the dynamic of the group in addition to the dynamic of the sound. But more importantly, it’s the dynamic of the group. On past tours, we had Jay filling in on drums, and now he doesn’t even do shit. He just smokes cigarettes, sleeps, and drinks our beer. But because he’s now part of the family, we bring him. He doesn’t even have to do anything. He’s just a permanent fixture in our lives, and I don’t want to go on tour without him, even if he’s not playing drums. As far as profits go, it’s not what we’re concerned with. It’s more of the vibe and having a good time. We make music that we love, and if people like it and we make money that’s cool, but if we don’t, we’re still doing what we love, and that’s the most important thing. Many bands these days start with a business plan and think about how they’re going to profit off this thing, and how they’re going to rip this person off, and how they’re going to scam this person, but that’s never been our mentality and never will be our mentality. We want to make music that we like, and that comes first. If people don’t like it, whatever.

How did you decide to have a flautist as part of the band?

A while ago, we had a different flautist, and she left the band. When she left the band, we asked Laura to be in our band. We had her primarily singing, but she’s awesome at flute, and we thought it’d be a cool texture and something different. The concept of punk rock is to be free, and to do whatever the fuck you want however the fuck you want to. That’s punk rock to me. I think that so many people that play punk rock set boundaries on themselves and limit themselves to what is traditionally what is a punk rock lineup is, which is two guitars, bass, drums. I feel that the purpose is to progress in art, and that enables you to do whatever you want. There are no rules. Especially in the kind of thing we’re doing. You can play anything. You can have someone playing a flute, someone playing a bagpipe, someone playing a fucking djembe, that’s what’s cool. It’s limitless. That’s what so liberating about art and music, that it’s limitless. Laura is a great flautist and a great singer, so why not utilize her to the fullest?

No Sleep Records almost seems like a farm system to the bigger labels. Bands have released a few records and get “promoted to the big leagues” to bigger labels. Do you see this happening any time soon?

I love No Sleep, so I don’t know. I want to keep progressing as a band as much as we can, and I want to reach the largest audience possible, because as artists the most important thing is to impact culture in the biggest way possible. So any way I can reach the biggest audience as possible, that’s what I want to do. Chris Hanson (the owner of the label) is the best dude, and we love him and he’s one of my best friends, and we’re really happy with it. They’ve done everything that we ask of them and they treat their bands really really well, and they really give a shit. That’s what matters. If I have a problem with a girlfriend or another band, I can call Chris, and that’s fucking cool. It’s cool to know that we have a dude there that really gives a shit.

No Sleep Records does this subscription based deal, where everything they put out is sent to the subscriber, including exclusive 7”s and other things. Should we expect any of your material to be on the 2012 No Sleep Records subscription?

Our last record was on the 2011 subscription thing, and some people that hadn’t heard our band were posting about it after that subscription was sent out. So I actually think that’s a good idea and I think that it’s cool to have fans of the label who maybe didn’t check out our band. If they’re fans of La Dispute or Balance and Composure or one of the other bigger bands on the label, they might subscribe and find out about some of the smaller bands on the label. When I was young that was a thing, you were a fan of a label. When I was young, I was a fan of Fat Wreck Chords. I liked everything that Fat Wreck Chords put out. It wasn’t just Nofx or just Good Riddance or just Propagandhi, I went through and got the comp and I listened to every single band, and then I went to buy the record of every single band, because that was the label that I liked. I think that sort of thing has gone away a little bit, but I think labels like Run For Cover and No Sleep are bringing that back. They just have solid rosters of bands. If you like one, you have at least the musical scope to get in to the rest. I don’t really know if we’re going to have material on the upcoming subscription. We’re planning on touring a lot, so right now our plan is just to tour as much as we can. We just finished touring with a band called Fair To Midland, which is a band that’s not very similar to us, but it’s cool because we did the Tim tour, then the Fair To Midland tour, then the Thursday tour, then we’re going out with a band called Electric Six, then a band called End Of A Year in Europe. Each of the bands are different and do their own thing, which I love because it keeps everything diverse and it’s very different every time. But it’s also different audiences, and I would like to think that our band has something that appeals to everyone, regardless of the music that you like and being able to do some diverse tours allows us to reach a broader group of people outside of the No Sleep/Run For Cover world.

How’s the tour with Thursday been? This could be their last tour, so have the emotions from that fact caused a change in everyone’s play?

I feel honored to be on these shows, so when we play, we’re stoked to be here. Thursday is a band that since I was very young I’ve respected and liked, as well as mewithoutYou. Those two bands are bands I’ve liked for a really long time, and just to go on tour with those two bands as a package, as well as our friends in Make Do and Mend, and Screaming Females fucking rip, so sometimes you step out for a band, but on this tour I want to watch every single band. It’s a good vibe, because I’m so stoked to see everybody, and I’m in a good mood all day.

Do you have any other plans for the beginning of 2012?

2012 so far we have a tour with End Of A Year, Self Defense Family they prefer to be called in Europe in January. We’re taking February off to write a little bit, and we’re going to do a music video for "Everything Is Right". The beginning of March we leave for a tour with Electric Six and we also are going to South By Southwest. On that tour we should be playing one or two new songs, but we’re going to start material in February for just new stuff. We’ve been just itching to write, because we’ve been on tour for so long. We’ve been vibing about what kind of direction we’re planning on going in and what the new material is going to sound like, so it makes us kind of like antsy to hash these new ideas out, but we’re going to do that in February. Then we’re going on tour for a couple of months, then coming home to focus on writing some more in the beginning of the summer. Hopefully we’ll record again in the fall of next year, and then try to put something else out before the next South By Southwest, so if we put something out in 2012, it’d probably be an EP or a 7”, but the next full length won’t be out until the following year, just because we’re focusing on touring so much that it’s been hard to sit down and actually write. And because this was our first record, I kind of want to tour on this one as much as possible to make people familiar with the band, so when we put out another record people know it at least a little bit.

I'd like to thank the band again for taking time out of their busy tour schedule (which involved four hours of traffic getting to the show!) to spend some time talking with me. The band is one of the more underrated bands on the Run For Cover/No Sleep agenda, and they definitely deserve the respect they are getting from all these fantastic tours. Their latest self titled record has been out since June, and you should definitely buy it, as well as liking them on Facebook!

The Daily Blair: America!

2012-01-08T17:08:00.035-05:00

For today's edition of the Daily Blair I tried to give you a song that I think perfectly describes or defines every state. I even included some descriptions!

ALABAMA

Lynyrd Skynyrd - "Sweet Home Alabama"

Nothing symbolizes southern pride more effectively than Lynyrd Skynyrd's "Sweet Home Alabama." In one of the greatest non rap "beefs" ever, Skynyrd completely roasted Neil Young and his hippie ballad "Southern Man" on "Sweet Home Alabama." SHA is everything we love and hate about the south and Alabama in one song: it is southern hospitality yet southern racism, it is beautiful southern weather yet the vicious cloud of southern racism, and it is big hooks yet every weaker lyrics in the verse. SHA like the south has strengths in its weaknesses and weaknesses in its strengths.

ALASKA

Sun Kil Moon - "Trucker's Atlas"

Sun Kil Moon's cover of "Trucker Atlas" just gives you a very "Alaska feel." It is about traveling, fishing, finding "sex on the rocks," and making sure that all of this simpleness somehow makes you feel never ending happiness. Alaska is a state that advertises itself based off its coolness and simplicity. Nothing represents this coolness and this simplicity better than "Trucker's Atlas".

ARIZONA

Wilco - "Hotel Arizona"

"Hotel Arizona" has the upbeat, relaxed, "hot," and insecure nature that reminds me so much of Arizona. It seems to be completely happy and free yet completely insecure and unsure of itself. It seems to be relaxed and open yet on the brink of doing something stupid. "Hotel Arizona" is a rich old man retiring in Phoenix: he enjoys the weather and the golf, but he really misses his family and being young.

ARKANSAS

Bruce Springsteen - "Mary, Queen of Arkansas"

When I think of Arkansas is a beautiful state that is in a geographical identity crisis. Arkansas is not sure if it is southern or Midwest, if it is Big 12 or SEC, if it is country or if it is folk, if it is Jim Crow or Jim Morrison, or if it is Bill Clinton or Bob Dole. Bruce Springsteen has always had a weird kind of identity crisis as well. He is a brilliant southern type songwriter who is a die hard liberal, he is never sure if he is singing for the working man or the man looking for work, and he is never sure if he should sing soft songs or hard rocking songs. Springsteen's "Mary Queen of Arkansas" is a beautiful song that perfectly represents his career and the identity of Arkansas.

CALIFORNIA

Phantom Planet - "California"

California has always been sold to me as this utopia of liberal freedom. A place where the fountain of youth is the daily sound of an alarm clock, where a mans best friend is his surfboard and his drug, where the sun is found in every sunny relationship, and where religion is found in every worthwhile cause. I think the aggressive and catchy nature of Phantom Planet's "California" perfectly describes the way California is perceived and advertised. It is innocent, exciting, and most importantly fun.

COLORADO

John Denver - "Rocky Mountain High"

John Denver perfectly describes the freedom that is Colorado. This song is the painful climb of the mountain yet the warmest sip of hot chocolate, it is a song of heartbreak yet the story of finding a new love, it is a song about finding new "highs" in even your most desperate lows, and it is a song of opportunity yet reflection. Denver perfectly describes the paradox, serenity, and freedom that is climbing the mountain of love, opportunity, and reflection.

CONNECTICUT

Jesus H. Christ & The Four Hornsmen of The Apocalypse - "Connecticut Is For F---ing"

Connecticut has always seemed to have a weird sense of humor about itself. It knows it is not New York yet it thinks it is better than all the Southern states, it knows it is not a tourist attraction yet considers itself better than most tourist attraction, and it knows its basketball coaches are scum yet still praises them. This song is full of the same aggressive and weird sense of humor it describes everything in Connecticut yet says the only thing to do is "f---," it is sarcastic yet truthful, and it is humble yet confident.

DELAWARE

Saves The Day - "Hot Time In Delaware"

Delaware has always been the raw and more complicated version of some other the "more attractive" states that it borders. Saves The Day enthusiastic description of a night out in Delaware gives us that raw yet complicated feel that makes me think of Delaware.

FLORIDA

The Mountain Goats - "Tallahassee"

The Mountain Goats have always given us a little bit of everything. They have given us hard rocking songs, ballads, acoustic songs, albums, EPs, and brilliant lyrics. Florida has always been able to give us a little bit of everything as well. Florida is a state made up of rednecks, Cubans, liberals, conservatives, the elderly, the young, tourist attractions, ghettos, the big three, the obese, two time zones, Christians burning other holy books, and Muslims. I don't remember Florida for its diversity or its attractions, I just remember it is Florida. Just like I don't remember the Mountain Goats for their accomplishments or their randomness, I just remember them as the Mountain Goats.

GEORGIA

Band of Horses - "Georgia"

People who live in Georgia or are from Georgia seem to have endless pride about their state. Besides friends and family, state pride seems to be the most important thing to Georgia citizens and Georgia natives. This song is a perfect representation of that pride. It is a song that brags about being Georgia "son" almost as if the state itself served as a third parent, it is a song that describes every intersection in Georgia almost like it is a detour from a scheduled trip from heaven, and it is a song that screams that Georgia will always be home no matter how far away from Georgia its people go.

HAWAII

The Ventures - "Hawaii 5-0 Theme"

I have never been sure what to think of Hawaii besides thinking that I really want to go there. People say it is laid back yet exhilarating, it is rejuvenating yet crippling, and it is fun yet hard work. It seems like it is just a paradise of just about anything. The Ventures give Hawaii the perfect "paradise of anything" feel.

IDAHO

Built To Spill - "Twin Falls"

One of my friends who lives in Idaho described it as a place that "everything in you wants to leave, yet everything in you wants to stay." Built to Spill describes Idaho in the same way in this two minute acoustic "ballad." He perfectly describes the feeling of wanting to leave but not being able to escape from the sights, the people, and the places that have become so important to his daily routine.

ILLINOIS

Sufjan Stevens - "Chicago"

"Chicago" is the most catchy and the most charming song on Sufjan's Illinois album. It has the energy, charisma, character, excitement, and openness that seem to perfectly describe Chicago and Illinois from an outsiders perspective. "Chicago" is the perfect six minute example of the content adrenaline that seems to define our major cities and states.

INDIANA

John Mellencamp - "Small Town"

Indiana has always sort of prided itself on being a "Hoosiers" like underdog success story. Every person that gets a job, finds love, or even finds a hobby thinks when they find this success it is because of Indiana's small town nature and not because of their own hard work. Indiana seems to be a state filled with inferiority complexes about the other forty-nine states they think think of themselves as more important than Indiana. This inferiority complex may be illogical and unfounded but it makes success that much more sweet. The small town grass roots success of Indiana is perfectly defined in John Mellencamp's "Small Town."

IOWA

John Linell - "Iowa"

KANSAS

W.G. Snuffy Walden - "On The Road To Kansas"

KENTUCKY

Ryan Parker - "We Love Our Cousins In Kentucky"

Kentucky is a state of passion. It is filled with people who are way too passionate about politics, horses, family, friends, and being from Kentucky. But I think the thing the people of Kentucky are the most passionate about is basketball. This song captures that peculiar passion perfectly and is hilarious and catchy at the same time. Go Big Blue.

LOUISIANA

The Animals - "The House of the Rising Sun"

According to an outsiders perspective the Louisiana is a state of gumbo, Parishes, Superdome's, alligators, swamps, and just about anything outside of knowledge. But parts of the Louisiana are filled with people who are very smart and have a healthy fear of the future like the rest of us. "The House of the Rising Sun" describes the dark side of the Mardi Gras state just about as good as anyone can.

MAINE

Leon Russell - "From Maine To Mexico"

MARYLAND
The Mountain Goats - "Going To Maryland"

MICHIGAN

Rogue Wave - "Lake Michigan"

Heaven is a switchboard that you want to fight is the opening line to Rogue Wave's brilliant "Lake Michigan." It is the most unique description of Heaven I have ever heard and I have heard Heaven described as just about everything. This uniqueness is something that I think Michigan prides it self on. It is a state defined by energy, kindness, and people who want you to "get off their stack." LM describes the unique nature of Michigan perfectly.

MINNESOTA

Forest City Lovers - "Minneapolis"

MISSISSIPPI
Mountain - "Mississippi Queen"

MISSOURI

Van Morrison - "The Eternal Kansas City"

When I think of the word "timeless" I think of Van Morrison. His lyrics, instrumentation, and his songs are just as important today as they were in 1970 (at least to me.) He puts his timeless touch on KC and he ends up describing the city and the state(s) perfectly.

MONTANA
Hank Williams Jr. "Montana"

NEBRASKA
Desaparecidos - "Greater Omaha"

Everything Conor Oberst touches seems to turn into something that is at least interesting. He has made folk albums, electronic albums, rock albums, concept albums, and "sci-fi emo" albums. On this song he shows off his talent for grunge and finally comes up with a song that does an adequate job of describing the hard working and rural state that he grew up in. This song is one of the most underrated in the Oberst discography, just like Nebraska is one of the most underrated states in the United States.

NEVADA
The Weeknd- "Heaven or Las Vegas"

If you don't think about it that much the three 2011 Weeknd Mixtape's can all be viewed as a trip to Vegas: House of Balloons was the drug filled nights of sex and gambling, Thursday was the mistakes found the morning after the party, and Echoes of Silence is the silence found in having to go home and start over. So the Weeknd kind of defines a trip to Vegas and a trip to Nevada. Or maybe I'm just crazy.

NEW HAMPSHIRE
Mat Pond PA - "New Hampshire"
NEW JERSEY
Tom Waits - "Jersey Girl"
NEW MEXICO
Johnny Hobo - "New Mexico Song"

NEW YORK
Beirut - "East Harlem"

The New York song has become almost as cliche as the breakup song. Everyone has a song about New York: the freedom of New York, the openness of New York, the politics of New York, and the nightlife of New York. I am sick of all of these disingenuous songs about a state that half of these artists probably have not even visited. When I think of New York I think of a state that is probably a lot more complicated than what we make it out to be. Beirut defines the fun and complicated nature of New York without having to resort to disingenuous cliches.

NORTH CAROLINA
James Taylor - "Carolina In My Mind"

NORTH DAKOTA
Lyle Lovett - "North Dakota"

OHIO
The National - "Bloodbuzz Ohio"

I have met so many people from Ohio in just like the past two years. The thing I have noticed about Ohio people is that they really like Ohio State and they really think family is the most important thing in their life. They give family members jobs, they consider family to be their "best friends," they are a living family reunion, and their number one focus is improving their family life. "Bloodbuzz Ohio" does a great job of describing the excitement that can be found in focusing on family and depending on them.

OKLAHOMA
Willie Nelson - "Baja Oklahoma"

OREGON
M. Ward - "Paul's Song"

M. Ward has always done a great job of making everything seem simple and making that simplicity seem beautifully. When I think of Oregon I think of a place that is creative, exotic, beautiful, and simple. "Paul's Song" is all of these.

PENNSYLVANIA
Bruce Springsteen - "Streets of Philadelphia"

RHODE ISLAND
Charlie Hill - "Rhode Island, It's For Me"

SOUTH CAROLINA
They Might Be Giants - "South Carolina"

South Carolina is absolutely crazy. It is the only state we have that is known for its fireworks and strip clubs. What other state is defined by that unique of a combination? It seems to be the more corky and more conservative version of that thing we call North Carolina. This song understands the corky, conservative, firework, and strip club nature of South Carolina.

SOUTH DAKOTA
The Bee Gees - "South Dakota Morning"

TENNESSEE
Arrested Development - "Tennessee"

Rule #1: Never rule against Arrested Development.

TEXAS
Bob Willis and His Texas Playboys - "New San Antonio Rose"

AN old school country song for an old school country state.

UTAH
Brian Wilson - "Salt Lake City"

Brian Wilson gives SLC the hard rocking and free feel that it has always deserved a chance at.

VERMONT
Cursive - "Vermont"

Cursive give Vermont the hard rocking and misunderstood feel they have always desired.

VIRGINIA

The Rolling Stones - "Sweet Virginia"

Virginia has always been one of the sweetest and more innocent states that we have. When you visit Virginia it is almost like you are visiting a million person cult that loves each other unconditionally. This song does a good job of describing that love.

WASHINGTON
Perry Como - "Seattle"
WEST VIRGINIA
John Denver - "Country Roads"

WISCONSIN
Bon Iver - "Wisconsin"

Bon Iver explains Wisconsin in one song. I think Bon Iver could explain quantum physics in one song if he really wanted to.

WYOMING
Chris LeDoux - "Song of Wyoming"

Artist Spotlight: Fievel

2012-01-07T18:23:00.011-05:00

The name Fievel has been floating around ReverbNation and Facebook for a little bit, and I just caught onto it today. After I did a bit of research, I found that this little gem of a band was established online very recently, and that the project hailing from Norfolk, VA only has one song to support their name. Fortunately for them, that one song, "The Beginning of Wisdom", has enough promise to push Fievel to at least a debut EP or album, where they can further establish their name.

Fievel characterizes their sound as indie / instrumental, and I feel that's pretty spot on. There isn't synth use at all in the song, but rather a heavy utilization of piano and guitar, alternately. The song has post-rock qualities, such as the slow vamping and the beautiful repetition of the main theme, but ultimately, it doesn't really feel like post-rock is what Fievel is aiming for. With "The Beginning of Wisdom", they set a niche for a specific sound, with ethereal effects made by reverbing and distorting guitar, and I think it works wonderfully for them. I'm very anxious to see what else stems from such a strong beginning, but for now, we'll have to wait and see.

You can check out Fievel on their main site, at ReverbNation, or on FaceBook.

Album Review: The Story So Far - Under Soil and Dirt

2012-01-07T16:35:00.004-05:00

Album Rating: B-

Newcomers in the scene The Story So Far plant their flag with their debut Under Soil and Dirt. Recently scooped up by Pure Noise Records, the album was released June 21st. An energetic and relentless effort, it is difficult not to enjoy what The Story So Far has to offer.

Under Soil and Dirt is largely power chord driven pop punk. Though it is pretty generic, some of the lead lines and song structures are interesting enough to keep your attention. Every song hits with high gain guitars and pummeling drumming, but The Story So Far had the maturity to provide the listener with numerous laid back breaks, giving the hooks a bit of room to breathe. Though by the end of the record Under Soil and Dirt feels a bit monotonous, it’s hard to deny that the hooks aren’t enjoyable. I consistently find myself tapping my foot to "Daughters".

Vocalist Parker Cannon adds personality to the sound, as he has a pretty unique approach. Though he certainly sings melodically, he definitely pays tribute to the hardcore shout. The lyrics aren’t particularly deep but fit the attitude of the music very well. The production is big and clear but trebley due to the gain on the guitars. The palm muted power chords have a pleasing character and the drums are crisp.

Though ultimately there is little substance to Under Soil and Dirt, it’s still a fun listen, and that’s all that it is meant to be. There aren’t any gimmicks and The Story So Far doesn’t pretend to be anything that they’re not. It won’t speak to you profoundly, but there is still much pleasure to be found in Under Soil and Dirt.

Facebook

Track List:

1. States And Minds
2. Roam
3. Quicksand
4. Swords And Pens
5. High Regard
6. Daughters
7. Mt. Diablo
8. Four Years
9. Rally Cap
10. Placeholder
11. Closure

Sean's Top 10 Albums of 2011

2012-01-07T11:50:00.002-05:00

10 | Giraffes? Giraffes! - Pink Magick

The demented and chaotic nature of Giraffes? Giraffes! third full length, Ping Magick, is accurately described in just about everything concerning the album except for the music. everything from the absurd track titles to the pretty pink and green explosion of an album cover captures everything that Pink Magick is all about. The band consists of nothing but a guitarist and a drummer, but the monstrosity of tracks such as "DRGNFKR" sounds like something that could not have been done by two musicians alone. Pick Magick is an extraordinary accomplishment for math rock and is easily one of the finest works to come out of this year.

09 | Panda Bear - Tomboy

With the release of Noah Lennox's sohpomore solo LP Person Pitch and Animal Collective's Merriweather Post Pavilion (possibly the greatest album to be released in the past five years), Lennox (or any member of Animal Collective) had a lot to live up to. Tomboy, although being a big leap from Person Pitch, is the most notable output from any of Animal Collective's members since the release of Merriweather Post Pavilion. Tomboy still retained a lot of the hazy, Beach Boys-esque musicianship of his previous work, but added an almost more sinister sound to it, most notably on tracks such as "Alsatian Darn". Although it may not have topped the brilliance of Person Pitch, Tomboy is definitely a very valiant effort.

08 | The Front Bottoms - The Front Bottoms

The Front Bottoms' self titled debut opens with the line "Please fall asleep so I can take pictures of you and hang them in my room, so when I wake up I feel like everything's alright." The Front Bottoms sing nothing but pure honesty (to the point of sounding creepy, as displayed), on themes such as heartbreak and alienation. Their lyricism on their self titled is what makes it so excellent and easy to relate to. They sing the things that we are too ashamed to sing with pride, over ten of the catchiest pop-punk songs that 2011 has seen.

07 | Starfucker - Reptilians

Reptilians, released in March of this year, often felt like one of those albums that kind of faded as the year went on and as I gained more interest in other releases. When I felt like this I would listen to it and conclude that it really had lost its charm. But then when I'd listen again it would immediately regrow on me. Although I would feel like it isn't as good as I thought, the insane catchiness of songs such as "Born" and "Death as a Fetish" always brought me back. Reptilians is a unique synth pop album that will become something different on every listen, and is always exciting.

06 | Mogwai - Hardcore Will Never Die, But You Will

I'm not gonna start pretending like I know anything about post-rock, but I think I am justified in saying that Mogwai's latest effort is a damn good one. In a genre that is known for being strenuous and difficult to digest, Mogwai made post-rock catchy, exhilirating, and accessible. Songs such as "Mexican Grand Prix" and "George Square Thatcher Death Party" keep the classic formula intact, but without the difficult crescendos and without making anything too overdramatic.

05 | Thursday - No Devolución

Thursday is one of those bands that I usually associate with a past version of myself. Circa five or six years ago I would worship Full Collapse and A City By The Light Divided. I didn't do very well with keeping up with the band after that point in my life, and with the release of No Devolución, I was absolutely blown away. Thursday created what sounds like a post-hardcore Loveless (except it sounds white instead of pink), most evident on "No Answers", where Geoff Rickly's voice is drenched in an eerie reverb while a distorted guitar screams over a fiery synth line. In topping Full Collapse, it only makes sense that Thursday should break up, but we could only hope that the band could continue to do great things in this direction.

04 | Bon Iver - Bon Iver, Bon Iver

I don't think many people knew what to expect for a new Bon Iver album. I guess I sort of expected something along the lines of his debut, except probably a lot shinier. I definitely didn't expect the earthmoving conclusion to "Perth". I didn't expect the Phil Collins-esque "Calgary". And I definitely didn't expect the 80's soundtrack to heaven, "Beth/Rest". But most of all, I did not expect it to be anywhere as good as it is. And I definitely didn't expect it to surpass his first album. (which it did).

03 | Fleet Foxes - Helplessness Blues

I tend to get overly philosophical when thinking about things. I think of things that sound like something one of my friends would say while watching a Carl Sagan documentary high. So when I first heard the first single off of Helplessness Blues of the same title, I had one of those "what is life" moments. The songs sings of just being another brick in the wall with a whimsical uncertainty for the future. And that's really what Helplessness Blues is about, really. The album is a folky roller coaster of emotions, going from the joyous "Lorelai" to much darker on tracks like "The Shrine/An Argument". Helplessness Blues is one of those rare albums that actually make you think.

02 | Youth Lagoon - The Year of Hibernation

Although it may not be anything new as far as themes go, Youth Lagoon's debut album screams of nostalgia. Quoting things your mother told you at 17, recalling your dreams when you were 9, it all just falls in place. But The Year of Hibernation is one of those nostalgic albums that doesn't make you want to go back to certain times, but makes you appreciate them. It makes me happy that things in my past happened and grateful for them, rather than making me miss them, and be grateful for the future. As Trevor Powers told me when I was 17, "don't stop imagining, the day that you do is the day that you die."

01 | M83 - Hurry Up, We're Dreaming.

I don't know how many times I've said it, but I can't express how upset I am with myself for ever believing that Anthony Gonzales' epic arena-rock double album would flop. I couldn't imagine what M83 would be like without the shoegazy pop of tracks such as "We Own The Sky" or "Kim and Jessie". But somehow, Gonzales pulled through and released the best album of his career. Hurry Up, We're Dreaming. is probably the most interactive album I have ever heard. It is interactive in the way that it is open entirely to your own interpretation. Why do you think none of the lyrics make sense? Is "Midnight City" really just about standing on a curb waiting for a taxi? Is "Reunion" really just about making out with a girl in your backseat? The world may never know. Gonzales left us this album for our imaginations and our dreams to get lost in, a musical playground of magic frogs and actors/actresses and kings that seems so huge that it's difficult to mentally find your way back. But really, why would you want to?

The Daily Blair: An NFL Playoff Musical

2012-01-06T17:50:00.015-05:00

Hey the NFL Playoffs are coming up! So I am going to compare every NFL playoff team to a 2012 album.

1. SUPER BOWL CHAMPION: New Orleans Saints

2012 album that reminds me of the New Orleans Saints: Fun.- Some Nights

On Aim and Ignite, Fun. was the Pittsburgh Steelers: they combined old school influences (Beach Boys and Queen) with new school ideas and execution. The Pittsburgh Steelers love to run the ball and deal out helmet to helmet hits like it is 1965 (Beach Boys and Queen) but they also have one of the best passing games in the league led by nightclub enthusiast Ben Roethlisberger (new school ideas and execution.) A&I had something for everyone to love just like the Pittsburgh Steelers have something for everyone to hate.

This year Fun. seem to be focused on perfecting a modern sound: "We Are Young" is a beat driven anthem that kind of sounds like a tamer version of "Baby Girl, I'm A Blur," "WTF" is a five minute uncensored version of "At Least I'm Not As Sad As I Used To Be," "Carry On"sounds like a 2011 remixed song off of Goodbye Yellow Brick Road, and "It Gets Better" has the chance to have the generational impact that "Imagine" had over thirty years ago. So while Fun. has not totally forgotten their old school influences they seem to be using less and less of these influences to make their next modern masterpiece. The new fun. album is the Saints modern offense that passes over fifty times a game then sneaks in a draw to Darren Sproles to keep the defense on their toes. Some Nights will make Fun. the biggest band in the world just like the Saints passing offense made them the best team in the National Football League.

2. AFC Champion: New England Patriots
2012 album that reminds me of the New England Patriots: Phoenix- TBA

Phoenix is a poor man's version of Fun. just like the Patriots are a poor man's version of the Saints. Phoenix have just a little less energy than fun. (the same way the Patriots are a little less explosive than the Saints,) Phoenix are a less less catchy than fun. (the same way the Patriots are a little worse on the offensive line,) Phoenix have a little less of the "generational defining" quality than fun. (the same way the Patriots are so much more evil than the Saints,) and Phoenix are a little less consistent than fun. (the same way the Patriots defense is a little less horrendous than the Saints defense.) I still think this is going to be an awesome album though. But after talking to the three fans that Phoenix have they seem to have expectations that are "Radiohead ridiculous." So will a runner-up type of album be good enough for Phoenix nation? Will just an AFC championship be good enough for Boston?

3. NFC Runner Up: Green Bay Packers
2012 album that reminds me of the Green Bay Packers: The National- TBA

When something is "obviously going to happen" in sports that usually means it is not going to happen. Kansas was OBVIOUSLY going to beat VCU and go to the Final Four, the USSR was OBVIOUSLY going to kill the US in the 1980 Olympics, Mike Tyson was obviously going to bite Buster Douglas's face off, and their was absolutely no way that North Carolina State was going to upset the NBA all star team that was Phi Slamma Jamma. Well in case you don't care about this stuff VCU did go to the Final Four, the US (lead by Al Michaels moaning) upset the USSR, Buster Douglas upset Mike Tyson, and NC State and a confused Jimmy V upset Houston. When you think something is obvious in sports, bet on the exact opposite thing happening. The same kind of thing is true about music. Radiohead was OBVIOUSLY supposed to put out the best album of 2011, Jay-Z and Kanye West were OBVIOUSLY going to OD on their egos and not even release an album, Sufjan Stevens was supposed to make an album for every state except Missouri, and Casey Whitman was NEVER supposed to allow these kind of crazy posts on his site. Well I cannot find one person who said The King of Limbs defined 2011, I cannot find one person that does not jam out to "Niggas In Paris," I can only find two "state albums" by my man Sufjan Stevens, and I am still writing. So when you think something is obvious in music and in sports, bet on the exact opposite actually happening.

The Packers are the Super Bowl favorite and the National are the favorite for album of the year but I just do not think the Packers or the National will come through. The Packers are going to get upset by a scrappy Saints team in the NFC Championship game and the National will eventually make a bad song. Aaron Rodgers will eventually throw an interception and Matt Berninger will eventually write a lyric that just comes off as weird. The Packers and the National cannot stay perfect forever, but they can still stay pretty damn good.

4. AFC Runner Up: Baltimore Ravens

2012 album that reminds me of the Baltimore Ravens: Frightened Rabbit- TBD

The Baltimore Ravens have been depressingly consistent for years. They have consistently had one of the best defenses in the league, they have consistently had one of the best running games in the leagues, they have consistently had a game managing quarterback that could not manage his facial hair, they have consistently won 11-14 games every season, and they have consistently been borderline unwatchable for more than ten minutes at a time. Frightened Rabbit have also shared this depressing consistency. They have consistently made great songs, they have consistently had awesome lyrics, they have consistently had a lead singer with an awesome accent, they have consistently made B+ to A+ albums, and they are consistently hard to listen to for over three songs in a row. Both the Ravens and Frightened Rabbit are great but both almost play to slow to win games and album of the year awards consistently.

5. AFC Divisional: Pittsburgh Steelers

2012 album that reminds me of the Pittsburgh Steelers: U2- Songs of Ascent

The Pittsburgh Steelers have been "that team" for about fifty years now. They have been that team that has the fans that swear and think they are cool because they wave towels, they have been that team that has a Hall of Fame quarterback that has a funny accent, they have been that team that brags about making sure opposing players are in diapers by the age of 46, and they have been the team that seems to win the Super Bowl every other year. U2 have also been "that band" for what seems like fifty years now. They have been the band that has fans that go to Africa for absolutely no reason, they have been the band that has the lead singer that is extremely talented but according to cartoon sources might actually be a piece of crap, they have been the band that is going to be singing "save the world" ballads until they are in diapers, and they are the band that seems to make the album of the year just about anytime they put an album out. Even though both the Steelers and U2 are disgustingly great they will both take a little step back this year. A couple of U2's ballads will fall on deaf ears and a couple of Big Ben's behind the back shovel passes will get intercepted. U2 and the Steelers will still be great but they will not be Joshua Tree or "Steel Curtain" good.

6. NFC Divisional: New York Giants

2012 album that reminds me of the New York Giants: Say Anything- Anarchy, My Dear

I really want to fall in love with both the "new look" of the New York Football Giants and the "new sound" of Say Anything. The "new look" Giants are a team that rushes the passer well, a team that is led by two bruising running backs, a team that does exactly the opposite of what its senial head coach says, and a team that plays its best football in the fourth quarter. The only thing that keeps the Giants from being the NFC team in the Super Bowl is that they say they are going to give their offense over to Eli Manning. I would trust Casey Anthony with my new born before I trusted Eli Manning in a playoff game. I know that he led the Giants to an improbable Super Bowl run in 2007, but I also know that the only reason he made that run was because of one 5th stringers helmet catch and because they had a 6 foot 5 receiver before he shot himself in the leg. I have no faith that Eli Manning can lead the Giants past the divisional round of the playoffs.

I also want to fall in love with Max Bemis and the new sound of Say Anything. The "new" Say Anything is supposed to offer us a political version of Is A Real Boy...., is supposed to be combine the sounds of Queen and the Pixies, is supposed to be "more mature," and is supposed to be the best album that Say Anything has put out yet. The problem is that Max Bemis simply cannot write songs like he used to anymore. He is no longer on drugs, he is no longer looking for love, he is no longer having phone sex, and he is no longer making awesome Notorious B.I.G. references. This would all be fine but we all know that Max will not shut up and this album will just be 45 minutes of him ranting about nothing and trying to make it sound like it is something. "Burn A Miracle" would have been brilliant if Max would have "let the music breathe" but Max always has to make it seem like he has something to rant about. The only thing is he actually has nothing to rant about anymore.

7. NFC Divisional: San Francisco 49ers

2012 album that reminds me of the San Francisco 49ers: Paramore- TBA

The San Francisco 49ers were the best team in the NFC West! They somehow outlasted the -2.9 passer rating of Jon Skelton and the Arizona Cardinals, they somehow outlasted Marshawn Lynch and his Seattle Skittles, and they somehow outlasted the Rams! Wow! Actually, I am really not that impressed at all. Winning a division with those three teams is like breaking the hearts of three 400 pound fat girls over a seventeen week period. Just like any man could break the heart of three 400 pound women over a seventeen week period, just about any of the other 28 teams in the NFL could have won the NFC West. The 49ers have a good defense but they also have a Quarterback who thinks getting sacked for a loss of seven yards is a good play. The 49ers will lose in the divisional round and it will not be pretty.

Paramore is the best female led pop-punk band in the mainstream! They someone outlasted the efforts of absolutely no one! Paramore is like the 49ers in the fact that they will be successful because they are really good at one thing AND because they have absolutely no competition. Paramore will look good because they are the only female led pop-punk band making really catchy songs, just like the 49ers only looked good because of their stellar defense and their less than stellar competition. Paramore will make a memorable album, but an album that is not quite original enough to win album of the year.

8. AFC Divisional: Houston Texans

2012 album that reminds me of the Houston Texans: The Killers-TBA

I love everything about Houston except their quarterback. I love everything about the Killers besides their lead singer. I also refuse to write about the Texans until they start Jake "Bojangles" Delhomme.

9. NFC Wild Card: Detroit Lions

2012 album that reminds me of the Detroit Lions: Sigur Ros- TBA

Just about everything about the Detroit Lions is perfect: they have a quarterback who passed for every 5,000 yards, they have a receiver who has the skills of a Michael Bay robot, they have a defensive lineman who can sack you, stomp you, and then get you to buy a car, they have a coach who takes offense to being slapped in the back by some west coast douchebag, and they have fans who have been so humbled that they give standing ovations after two yard gains. But after Jahvid Best got injured the Lions have absolutely no running game. And the John Fox side of me wants to say that you cannot win a playoff game without any semblance of a running game. Just about everything about Sigur Ros is perfect: they have instrumentation that sounds like an orgasmic combination of Radiohead, Queen, and Explosions In The Sky, their lead singer has unlimited range, they make music that is beyond beautiful, and they have awesome accents. But it is almost impossible to have a normal connection with the music because the lyrics are not in English. It is impossible for me to see Sigur Ros making a top five album this year simply because I am shallow and cannot connect to an album that is not in my native language. Detroit's lack of a running game and Sigur Ros Icelandicness will bring them down a couple notches.

10. NFC Wild Card: Atlanta Falcons

2012 album that reminds me of the Atlanta Falcons: 50 Cent- TBA

The Falcons are really talented. They have a top ten quarterback, two "game breakers" at receiver, a Pro Bowl running back, a huge offensive line, two really good pass rushers, solid linebacking, and good corners. The Falcons have so much talent though that they are constantly having identity crises. Should they run the ball 30 times a game or should they pass it 50 times a game? Should they trust Matt Ryan or should they trust their defense? Should they blitz more or should they trust their corners to make big plays? The Falcons are so talented that they "don't know what to do with themselves" and it will result in a first round loss.

50 Cent is also really talented. He made one of the best mainstream rap albums ever, consistently makes great singles, and is still one of the most versatile rappers in the mainstream. The problem with 50 Cent is that he is also so talented that he is also in an identity crisis. Should he be a "gangsta rapper" or should he make a whole album with songs like "21 Questions?" Should he be an actor or should he just focus on his music? Should he embrace the role of villian or should he make peace with all of his rivals and become a "good example?" The problem with the last three 50 Cent albums is that he is "so talented that he doesn't know what to do with himself" and it has resulted in mediocre music. 50 Cent and the Atlanta Falcons are both so talented that they end up being mediocre.

11. AFC Wild Card: Cincinatti Bengals

2012 album that reminds me of the Cincinatti Bengals: Meat Loaf- Hell In A Handbasket

Meat Loaf has broken our heart so many times that we just do not care anymore. He has made bad album after bad album, he has played bad gig after bad gig, he has ate bad ham after bad ham, and he has even started to become a mediocre actor. Meat Loaf is like our cousin with a crack addiction who says he is "recovered," we want to believe it but we have to much evidence against it. We want to believe that Meat Loaf can still make good music, but there is just way too much past evidence against it.

The Cincinatti Bengals have broken their fans hearts so many times that they just do not care anymore. They might have a great ginger quarterback but they have no faith that the front office will not release the "Red Rifle," they might have a great defense but they have no faith that anyone on that defense will stay out of jail this offseason, they might have a great young receiver but they are just waiting for him to turn into Ocho Cinco, and they might have a coach that looks great right now but they also know that he is an awful coach 75% of the time. Bengals fans want to believe that this is finally the "turning of a new leaf," but the leaf has been crapped on so many times that they do not even want to come near it. The Bengals and Meat Loaf are both begging their fans for second chances, but their fans just are way too logical.

12. AFC Wild Card: Denver Broncos
2012 album that the Denver Broncos remind me of: Insane Clown Posse- The Mighty Death Pop!

The Broncos might be the worst team in the NFL right now and they are still in the playoffs. We are going to watch the Broncos to see Tebow try to throw a spiral, see Von Miller try to get nine sacks in one game, see a receiver try to run something below a six second forty, and to see how many draws John Fox can call in a row. I know the Broncos are probably going to lose by 35 to the Steelers, but I am going to watch because I know I am going to be really entertained by their failure.

The Insane Clown Posse might be the worst band in the world right now, but they are still going to sell a ton of records. I am going to listen to ICP just to see how stupid their lyrics are, to see them try to get political, to see them try to make music, and so I can flirt with community college girls. Also ICP and Tebow fans have the same kind of illogical passion that makes people hate them so much.

Until tomorrow.

Album Review: Daylight - The Difference In Good And Bad Dreams (EP)

2012-01-05T17:31:00.000-05:00

EP Rating: B

The problem with an overcrowded genre isn't the sheer number of identical sounding bands within, rather the difficulties facing newer acts looking to make an impression within it's field. What approach do you take when there are literally thousands of others out there seeking an answer to the same troublesome conundrum? The obvious response is to try something different, but given that so much ground has already been mapped it's hardly easy for fresh faces to embark on territory which hasn't already been exhausted. The risks associated with pushing the boundaries are also considerable, and as such many simply choose to stick with what they, and so many others, know and remain within the genre's established walls. One could argue that this does nothing but worsen the issue of saturation to which they were trying to find a solution to in the first place, but while these acts are by no means helping the style progress, their stance can be more than justified if they simply deliver their plan with greater conviction and, of course, quality than anyone else.

This is the approach that Daylight take to their well-worn brand of emo-tinged pop-punk. It's a corner of the musical spectrum that's been dominated by the likes of Brand New and Say Anything for the best part of a decade, and the emergence of this Pennsylvanian quartet isn't going to do anything to change that, but in perfecting the sound that they and so many others utilise they're slowly establishing themselves as a force to be reckoned with. Innovative they're not, but what they are showing is just how far being superior to the majority of your contemporaries can get you. Their third release in as many years, The Difference In Good And Bad Dreams sees the band continue to spruce up their instantly familiar yet admirably executed sound, and in doing so provides them with a perfect platform to build upon with their debut album, due towards the end of this year.

All four members have already experienced life in bands from across the punk rock spectrum, so their credentials as musicians have never been in question, but even so the seamless nature with which they gel is impressive. But while the driving rhythm section and twin guitars never fail to keep things interesting, it's vocally where the key to Daylight's success remains. Former Bangarang! man Taylor Madison's powerful and gritty performances are without a doubt the band's defining characteristic, but it's with a harmonic backing that his voice works best, providing Sunny Day Real Estate-esque hooks which dominate their best songs. It's a ploy best sampled on 'Damp,' by far and away the best track here and perhaps the finest balance they've yet found between instrumental intensity and emo angst. It, along with the rest of the EP, bodes well for that upcoming full length, and should such momentum be maintained it's perfectly feasible that that record could establish Daylight as one of the mainstays in this most travelled of genres.

You can stream and purchase The Difference In Good And Bad Dreams on Bandcamp.

Facebook
Myspace

Tracklist

1. On The Way To Dads
2. Hungry At A Funeral
3. Damp
4. In My Dreams

Album Review: Loma Prieta - I.V.

2012-01-04T01:48:00.002-05:00

Album Rating: A

Lately, I’ve been finding it somewhat difficult to properly pen my thoughts on music, instead opting to either go through the motions, or simply lose what few words I had to begin with. Whether it be from the complete ineffectuality of an album, or simply my utter disinterest, music has become increasingly difficult for me to discuss. It happens from time to time, but every so often an album comes along that makes the words flow; a work that gets so much right that I’m absolutely compelled to spew my collective thoughts and opinions. Loma Prieta’s I.V is one such album, and the refreshing vindication of a band that’s been almost there for far too long.

Loma Prieta has been an up and coming band in the emotional hardcore circuit for about half a decade now, releasing solid record after solid record. Drawing inspirations from groups such as Pg. 99 and Ampere, Loma Prieta feature a messy, dense, and chaotic sound reminiscent of early emo and hardcore. The production is grimy and the vocals are brash, but within the short, crass songs that Loma Prieta create, there is genuine emotion and passion. However, despite the band’s consistent excellence, they haven’t produced a clear “classic” worthy of the praise they’ve received in their short career. Their, debut, Last City, was close but ultimately lacked that certain “punch” indicative of a true timeless record. That being said, I.V. is the album Loma Prieta have always had in them; a glorious and sprawling record that refines everything they’ve achieved thus far, whilst adding much, much more.

While it may seem a bit simple to pick out the more derivative aspects of I.V., it’s difficult to deny that they’ve used their influences well. The harder edge they’ve been sharpening since their inception is even more striking here, and that certain Ampere-esque flair is still beautifully executed. This is all decidedly Loma Prieta, which is all well and good, but it’s the more refined quality of the work that pushes it further. The heavier bass and relatively cleaner production gives I.V. a denser and more abrasive sound without sacrificing sound quality. Everything from the vocals to the guitars simply sounds tighter and more concise, and the album is all the better for it.

The original “Trilogy” found on Last City is still, to this day, some of the finest emo music I’ve ever heard, and the extension of those songs only furthers my irrevocable love. Parts four through six of the series is reminiscent of the original pieces, but features the new influences discussed earlier. The bass laden intro and darker atmosphere brings to mind Converge, while the emphasis on more intricate guitar work reminds one of La Quiete. But I.V. is so much more than these few songs, as the entire record sees the band creating a wealth of varied songs with more melody and more complex songwriting. From the gripping opener, “Fly By Night,” to the very last cathartic seconds of “Diamond Toot,” I.V. is an almost unparalleled collection of balanced and wonderfully executed tracks.

I.V., Loma Prieta’s Deathwish Inc. debut, was written at a time of great emotional turmoil for the band, and that sentiment certainly shows. I.V. is a marvel of modern day emotional hardcore, and a deeply effective album in general. This is the album that will finally hoist Loma Prieta up to the heights they deserve, showcasing the true talent and ingenuity contained within.

Facebook

Track List:

1. Fly By Night
2. Torn Portrait
3. Reproductive
4. Trilogy 4 "Momentary"
5. Trilogy 5 "Half Cross"
6. Trilogy 6 "Forgetting"
7. Untitled
8. Uniform
9. Uselessness
10. Aside From this Distant Shadow, There is
Nothing Left
11. Biography
12. Diamond Tooth

Album Review: Whores. - Ruiner

2012-01-04T00:53:00.001-05:00

Album Rating: B+

On any given night, Christian Lembach suffers anywhere between two and seven brain aneurysms; there's about a 35% chance that Travis Owen's drumsticks formerly played the roles of his tibiae; Jake Shultz's bass amp has caused clinical deafness in at least two dozen people. While none of the preceding statements are based whatsoever in fact, a listen or two through Ruiner just might get you wondering. The five-track debut EP from Gainesville's Whores. displays the trio's uncanny ability to put their angst, anguish, and general discontent into an audial form best described as a septum-bashing, and to do so without any gimmicks, frills, or blood-stained death-masks.

To put it one way, Lembach's unbridled songwriting very accurately reflects the fact that living amongst some of today's less than grateful, self-centered scumbags is often akin to brushing one's teeth with sandpaper. Ruiner is the barbed-wire floss to counteract that; it is the means by which these three southern noise-rockers bite back against the world's shitty ways and its shittier inhabitants. Opener 'Daddy's Money' recapitulates the story of that certain vapid, over-privileged bitch that everyone seems to know, whose father's rent checks just happen to go right up her button nose instead. Or take a track like 'Tell Me Something Scientific,' whose production and execution are as raw as its anti-religious-fundantalist message is obvious. Even the fact that the track's central riff and melody resembles those of the intro to 'Fake Life' just a little too closely is so easily forgivable considering the group's incredible propensity to grind their message home - in a nice way, if that's at all conceivable. Despite its noise-rock roots, nothing about Ruiner comes off as inaccessible: its unrelenting noisiness carries as much purpose and direction as its songwriting, meanwhile maintaining enough of their "fuck-off" attitude to lend the album its cutthroat allure. It vividly recalls and rehashes all of punk-rock's most essential mantras and motifs whilst supplementing them with some seriously pulverizing neo-monolithic riffage, cementing Ruiner as an end-of-the-year record worth delving back into a now retired 2011 for.

Tracklist:
1. Daddy's Money
2. Fake Life
3. Shower Time
4. Straight Down
5. Tell Me Something Scientific

Stream

2012: A Look Ahead

2012-01-03T21:31:00.001-05:00

Great Expectations... will 2012
be the year that The Gaslight

Anthem become huge?

Ah, finally it's 2012, and thank Christ - no more end of year lists!

Yes, the obligatory avalanche of retrospective madness has finally ran it's course, and at long last we can begin looking ahead at what the new year has to offer. And wouldn't you know it, even a cursory glance over the coming months reveals plenty that's worth getting excited about.

As well as the obvious big names and returning old favourites, there are also legions of newer acts hoping to make an impression with debut releases, while others who have already completed that opening hurdle will be looking to kick on and really establish themselves within the industry. So, with a run through the early year release schedule, as well as a few well educated pieces of guesswork, let's cast our minds ahead and behold what could well be another year of stellar musical achievement...

Sensational Scots Frightened Rabbit

Perhaps top of my own anticipated list is the new record from The Gaslight Anthem, which should see the light of day sometime around the summer. Supposedly nearer in sound to the blissful nostalgia of The '59 Sound than the populist leanings of American Slang, I can't help but feel that this could be the album which makes them massive, with Brian Fallon's golden touch and the backing of major label Mercury making for a potentially crucial combination. Aside from that, the release that I'm most excited for comes from Frightened Rabbit, probably my favourite current band. Admittedly, it's hard to see the Scots matching - or even coming close to their opus, The Midnight Organ Fight, but something along the same lines quality-wise as 2010's The Winter Of Mixed Drinks would more than suffice, such was it's excellence. While by no means a certainty, there's also the outside possibility that The National will unveil their eagerly awaited successor to High Violet sometime in the next 12 months, though having created three masterpieces in a row they've more than earned a lengthy spell in which to reach such heights again.

Jay-Z and Kanye West: both set for
another massive year

As brilliant as they could be, all of those albums will inevitably fall behind the true big hitters when it comes to units shifted, but will the members of that A-League justify such sales volumes? Green Day for one will have to make a big improvement on the hideously overblown 21st Century Breakdown if they're to do that, as will Muse, whose similarly bombastic The Resistance perhaps stands as the most disappointing record of the past few years. LA indie darlings The Killers and the evergreen (in popularity terms, at least) U2 also find themselves in a similar position, but not all of the big guns have so much to prove. Hip hop heavyweights Jay-Z and Kanye West - particularly the latter - have married success and substance to great effect on their past few releases, and both look set for another massive year in 2012. Details of their new individual exploits are scarce, but the pair are also reportedly working on a follow-up to last year's collaborative release Watch The Throne, so expect plenty more larger-than-life ego massaging shortly down the line! Of course, it wouldn't be right to speak of big names without acknowledging the true legends also making a return, namely Bruce Springsteen and Paul McCartney, who are both due to release new LP's in the first half of the year. Oh, and the newly reformed Beach Boys also have a new album mooted... though in all probability that'll be awful.

On the verge of a breakthrough?
...The Maccabees

As always, there will plenty of lesser known acts looking to make their big breakthrough and be elevated to the status of household names. Last year saw plenty of Brits in particular take that crucial step, and the early signs are that that is a theme which could well be set to continue. At the front of the queue are London indie pop quintet The Maccabees, who will unveil their third album Given To The Wild later this month, having already caused quite a stir with excellent lead single 'Pelican.' Already a big deal, but seeking to become even bigger are Biffy Clyro, who are looking to shake off the somewhat dismissive "Scottish Foo Fighters" tag once and for all with the release of a daunting double album. It's risky in the extreme, but should they get it right the results could be spectacular. Perhaps the most intriguing proposition of the coming year is a new album from The xx, who are due to release the follow-up to their Mercury Prize winning debut. How they, and their sound will react to the unexpected attention brought about by that success could ultimately decide whether or not they're in it for the long haul. Across the pond, Janelle Monae finds herself in a similar situation, having wowed critics with 2010's The ArchAndroid. The ludicrously ambitious Kansas City singer has already stated her intention to release two separate LP's this calender year and it'll be interesting to see whether she can translate her otherworldly themes and widespread acclaim into genuine mainstream success.

"KVELERTAKKKKKKKK!!!!!"

Far less likely to bother the charts, but no less interesting will be the plight of metal, with the genre having endured a relatively poor year last time around. If the past four decades have taught us anything though, it's to never underestimate this most enduring of styles, and indeed there are enough promising releases in 2012 to dismiss any suggestion that it's in terminal decline. Underground legends Converge are set to enter the studio later this month to unleash their musical shitstorm once more, while sludge titans Neurosis are readying their first album in five years, though an imminent arrival shouldn't be expected. Taking their time as always, Tool should also return with the long awaited successor to 10,000 Days, and the prospect of a new Meshuggah album is always an appealing one. What I'm looking forward to more than any of these, however, is the second album from Norweigan sextet Kvelertak, which if all goes well should see them take their thrilling "blackcore" template to a whole new level.

Top tips... The Tower & The Fool

Even more exciting, though is the knowledge that there'll be hordes of new bands emerging throughout the year looking to make their mark and have their sounds heard. Many of these will come completely out of the blue, but it's always worth bigging up a few who could well make it. Lana Del Rey certainly will. Having released a stunning series of singles towards the back end of 2011 which were adored by critics and the public alike, it doesn't take a genius to work out that she's probably set for Adele-like dominance once debut album Born To Die drops later this month. The Tower & The Fool won't enjoy anything like the same level of success (or for that matter exposure), but they're my top tip for the year ahead, having released a pair of fabulous EP's since their inception in 2010. A full length seems quite a way off yet, but any release from this outrageously talented folk collective should be an event worth celebrating. By contrast, Love American are already deep into the process of writing their debut album, which should see the light of day come spring time. The Californian hardcore trio are another who have already impressed on the shorter format, and will be looking to make an even bigger impact in the year ahead. Howler on the other hand will unleash their own debut in just a few weeks, and will hope that it justifies their tag as this year's actually-rather-good Strokes ripoffs.

There are, of course, loads of other great bands that I've had to exclude from this piece, and doubtless plenty more that I've completely forgotten about, but that only reaffirms my point that we potentially have quite a year in front of us. Some of those mentioned will deliver, others quite frankly won't, but even those failures will most likely be made up for by unexpected successes from artists we wouldn't have thought capable. The promise of such ups and downs make it all the more exciting to be a music fan in 2012, and I for one can't wait to get started.

Happy New Year!

Album Review: Moons - Moons Discography

2012-01-03T01:19:00.004-05:00

Album Rating: B

Moons Discography, from Ghost and Demons Records is one of the most enigmatic records I've heard in a long time. Most notably is its completely bewildering tags, that in all honesty, do not fit the music at all. On the band's bandcamp, Nathan's music is described as being in the vein of emo and post hardcore, whilst sharing little if anything with either genre. Confusing genre tags aside, Moons has created an all around intriguing album, blending sounds from across the musical spectrum into one very well produced package.

The album is seventeen tracks long, but song lengths range from 30 seconds to six minutes. It's a moody album for sure, with a dark enveloping atmosphere that blankets the whole thing. It has quite a bit in common with albums such as Have A Nice Life's Deathconciousness, featuring the same hollow production and melancholy feel. However, it is largely an instrumental affair, with little to no vocals being displayed. Keys and guitar are used, sparsely mind you, as it's mainly a record filled with ambient jams. Samples are found, and used rather well, adding personality and intrigue, rather than making a certain piece hinge on the sample in question. It's a expertly crafted album for sure, despite the confounding nature.

If a proper understanding of this album has eluded you, it's because it's actually fairly difficult to properly describe it. It's an expansive record that challenges one's idea of what instrumental/ambient music can be. For the first time since Nine Inch Nails' brilliant Ghosts I-IV, the genre feels imbued with a sense of boundless creativity, drawn from industrial, post-rock, emo, and ambient. Even in attempting to comprehend this odd mixture, one cannot truly understand what Moons Discography really is, and that's what makes it so damn fine. It's definitely worth hearing, for anyone even remotely interested in the world of instrumental music.

Check out the record here, entirely for free:

Track List:

1. Regression I (Birth is the Beggining of a Suffered Life) 00:29
2. Beautiful Songs About Horrible Things 02:48
3. Sandcastles 02:42
4. Glass 05:04
5. Regression II (Moments of Happiness) 00:30
6. What Time/Where? Part 1 01:52
7. What Time/Where? Part 2 02:36
8. Blue 03:20
9. Regression III (Keeping Quiet) 00:38
10. Blume 01:34
11. Blume & I 02:31
12. A Hand On Mount Tahan 02:40
13. Mitaka Incident 03:22
14. Sayama Incident 03:36
15. Regression IV (I'm Not Here, I Don't Want To Be) 00:38
16. The Sounds Inside My Head 06:15
17. The Sounds Inside Your Head 04:18

Album Retrospective: Sun Kil Moon - Tiny Cities

2012-01-02T21:00:00.013-05:00

Album Rating: A

I usually hate everything about covers. I hate the idea of "stealing" someones work for your own personal gain, I hate the idea of claiming that you changed that work enough to make it your own, and I hate the idea of every artist in the free world botching "Let It Be." Covers to me have always been an admission of an artists lack of creativity or even worse a shameless admission that the artist you are covering is more talented than you are. Covers for me were always an excuse instead of being actual art.

So when I was recommended Sun Kil Moon's Tiny Cities, a Modest Mouse cover album, I was skeptical to say the least. I always thought the only artist who could be Modest Mouse was Modest Mouse. Modest Mouse's songs always have a schizophrenic like energy, a "space rock" vibe, clever lyrics, and a pretty badass feel. If Mark Kozelek tried to make Modest Mouse songs like Modest Mouse, he would fail miserably because the only artist original and creative enough to be Modest Mouse is Modest Mouse. Instead Kozelek made a Sun Kil Moon album featuring Modest Mouse's lyrics and the result is the best cover album I have ever listened to.

Instead of trying to "cover" songs like "Tiny Cities Made of Ashes" and "Ocean Breathes Salty" Kozelek brings a unique feel to these songs and "recreates" these classic songs in his own way. Kozelek replaces the schizophrenic energy of Modest Mouse with his soft and warm vocals, he replaces Modest Mouse's space rock feel with the folky acoustic feel of his own songs, and replaces the "badass" feel of Modest Mouse with a feeling of peaceful contentedness. The only thing that is Modest Mouse about Tiny Cities are the lyrics and the track titles, the rest is just Mark Kozelek's warm vocals and acoustic guitar.

The acoustic feel makes the music so "humane" and relatable. When I listen to Modest Mouse I always feel like I am listening to great music but I have never felt like Modest Mouse made great music that I could actually relate to. The acoustic feel of Tiny Cities brings out Modest Mouse's sensitive side: "Tiny Cities Made of Ashes" sounds like a beautiful ballad instead of saying like a parnoid hard rocking song, "Ocean Breathes Salty" sounds like a perfect closer to a folk album instead of sounding like a forgotten song on a popular indie rock album, "Trucker's Atlas" sounds like a perfect four minute traveling song instead of sounding like an 11 minute cluster mess, "Draminine" sounds like a fast picking acoustic song instead of dark distorted rocker, and "Space Travel Is Boring" sounds like a folky anthem instead of sounding like a rushed two minute interlude. The soft, warm, and acoustic feel of this album makes Modest Mouse's lyrics and gives their music a totally different feel overall. You know get to see the genius of the lyrics of "Ocean Breathes Salty," "Truckers Atlas," "Neverending Math Equation," and "Tiny Cities Made of Ashes" instead of just viewing them as brilliant and energetic songs. Kozelek's gives us a Modest Mouse that we can cry to, we can sleep to, and most importantly a Modest Mouse that we can realte to. The softness of Kozelek's covers of Modest Mouse bring the bands brilliant lyrics to life and in a weird way bring one of the most energetic bands in the world to life.

Sun Kil Moon's Tiny Cities restored my faith in the cover. Instead of viewing covers as admission of guilt, writers block, and lack of creativity, I now see covers as opportunities to bring an artist to life in a new and original way. Sun Kil Moon "humanize" Modest Mouse with every acoustic riff, every warm vocal, and every brilliant lyric that you never noticed before. Kozelek knew that making another Modest Mouse album is impossible, so he made a Sun Kil Moon album featuring Modest Mouse lyrics. The result is something breathtaking, original, creative, free, and often times better than the original. Everything that a cover album is supposed to be.....

Tracklist:

1. Exit Does Not Exist

2. Tiny Cities Made of Ashes

3. Neverending Math Equation

4. Space Travel Is Boring

5. Dramamine

6. Jesus Christ Was An Only Child

7. Four Fingered Fisherman

8. Grey Ice Water

9. Covenient Parking

10. Trucker's Atlas

11. Ocean Breathes Salty.

Casey's End Of The Year Extravaganza

2011-12-31T19:57:00.004-05:00

More than likely this is going to be a clusterfuck of information, so I'll keep this intro short. Below, I've put together a list of my favorite EPs, albums, and songs of 2011. My tastes have widened drastically this year, so much that I currently have over 9000 songs in my library just from 2011. While the top of my lists focus more on my customary pop punk and pop rock realms, the deeper cuts of my lists are full of albums that before this year I never would have expected to like. Fireworks, The Wonder Years, Childish Gambino, M83, Farewell Fighter, Yellowcard, SBTRKT, and many more can be seen below. For a Spotify playlist containing the songs of the year list, click right here.

EPs Of The Year

10. Edelweiss - Pre-Columbians

9. 10 Paces, Fire - Lakes Reflect & Lakes Refract

8. Bright & Early - Getting Through It

7. The Forest Wall - The EP

6. Childish Gambino - EP

EPs Of The Year

5. Transit - Promise Nothing

4. Squid The Whale - New War

3. Coyote Theory - Color

2. Select Start - The New Atlantic

1. Farewell Fighter - The Way We Learn

Songs Of The Year

25. Battles - "Ice Cream"

24. Coyote Theory - "Vibe"

23. Decoder - "Holding On"

22. Mutemath - "Odd Soul"

21. Into It. Over It. - "Where Your Nights

Often End"

Songs Of The Year

20. Those Dancing Days - "Fuckarias"

19. Tyler, The Creator - "Golden"

18. Yuck - "Get Away"

17. Fireworks - "Summer"

16. The Wonder Years - "Came Out Swinging"

Songs Of The Year

15. Manchester Orchestra - "Pensacola"

14. Bon Iver - "Beth/Rest"

13. Katy B - "Katy On A Mission"

12. Yellowcard - "The Sound Of You

And Me"

11. Saves The Day - "Daybreak"

Songs Of The Year

10. St. Vincent - "Surgeon"

9. Girls - "Vomit"

8. Transit - "Long Lost Friends"

7. The Dangerous Summer - "Work

In Progress"

6. Kendrick Lamar - "No Make-Up (Her Vice)"

5. Frank Ocean - "Novacane"

Frank Ocean just doesn't seem to fit within the Odd Future collective. His smooth voice and sexy style contrast greatly with the assumed image of Odd Future. But along with being the new "hook man" for the collective, Ocean also released some of the stronger R&B tracks of the year. While "Novacane" began to break through to mainstream radio, it didn't break out as much as it could have done. With one of the stronger hooks this year and Ocean's customary croon, "Novacane" only signals even greater things for Ocean in 2012.

4. Farewell Fighter - "Golden"

I don't think I've ever associated with an album as much as I did with The Way We Learn. Growing up and the difficulties that go along with it is something that anyone can associate with, and as I have just finished high school and entered college, there's not a topic that's more relatable to me as that. The positive message of "we are golden because we're alive" rings absolutely true, as Farewell Fighter is one album away from possibly breaking into my favorite artists ever.

3. SBTRKT - "Wildfire"

Especially in 2011, electronic music has been the face of the year. While dubstep has taken over the mainstream, SBTRKT brings influences from dub as well as more minimalist electronic genres, creating one of the best crossover tracks of the year. While SBTRKT originally appealed to the more "hipster" crowd, the masked DJ is beginning to enter mainstream electronic audiences. Drake has already added a verse to a remix of the song, as SBTRKT could easily become the next huge DJ.

2. Kanye West &
Jay-Z - "Niggas In Paris"

"Niggas In Paris" is one of the most self indulgent tracks on one of the most self indulgent albums of the year. Two of the biggest MCs of the last decade came together for Watch The Throne, and while it didn't live up to the unrealistic hype that was placed upon it, "Niggas In Paris" is a track that's going to remain in American culture for years to come. The beat fits perfectly into any sports arena, and "that shit cray" has entered our generation's slang. The hooks are more massive than practically any other track this year, and the Blades Of Glory sample only proves that Ye and Jay will do whatever the fuck they feel like.

1. M83 - Midnight City

M83's "Midnight City" has been an extremely popular choice for the song of the year, and for good reason. The atmosphere created by the song is immensely captivating, as the synth lines are immediately infective and the entire song has endless replayability. The sax solo at the end of the track is one of the most glorious sections in music of the entire year, and will go down as one of the defining musical moments of 2011.

Albums Of The Year

25. Lydia - Paint It Golden

24. Into It. Over It - Proper

23. The Dangerous Summer - War Paint

22. Childish Gambino - Camp

21. Bomb The Music Industry! - Vacation

Albums Of The Year

20. Panic! At The Disco - Vices & Virtues

19. The Dear Hunter - The Color Spectrum

18. Bright Eyes - The People's Key

17. tUnE-yArDs - W H O K I L L

16. SBTRKT - SBTRKT

Albums Of The Year

15. Death Grips - Exmilitary

14. Girls - Father, Son, Holy Ghost

13. Yuck - Yuck

12. Moonlit Sailor - Colors In Stereo

11. Thursday - No Devolucion

10. Manchester Orchestra - Simple
Math

The biggest criticism of Manchester Orchestra's Simple Math was that Andy Hull has expanded his band's sound so large that the emotion felt on I'm Like A Virgin Losing A Child has all but dissipated. However, I feel that the expansive arrangements on tracks such as "Simple Math" and "Virgin" push Manchester Orchestra into new heights, as those two tracks are two of the most beautifully orchestrated rock songs of the year. The children's chorus section of "Virgin" is easily one of the highlights and most chilling parts of 2011. While the beginning and end of the album feel a little weak, the middle section from "Pensacola" to "Simple Math" is one of the strongest string of tracks of the year.

9. Those Dancing Days - Daydreams
& Nightmares

This is the second year in a row where an all female band has captivated me and dominated my playlists. Last year it was Warpaint, and Those Dancing Days takes over the throne in 2011. These girls are better musicians than 99% of the male musicians out there, and the drum part in "Fuckarias" is one of the best I've ever heard. Combining this musicianship with the ability to craft a fantastic song and fantastic vocals, it's shocking and disheartening that Those Dancing Days could not gain popularity and ended as a band so soon.

8. Bayside - Killing Time

Bayside was one of those bands with an immense following in the pop punk scene that I just could never get into. But with Killing Time, Anthony Raneri's voice finally got on my good side, and it helped that the songs were fantastic. The melodies flowed like few rock albums did this year, and the excellent guitar throughout the entire album only exaggerated the other musical aspects. Killing Time may have been somewhat forgotten due to the very early release date this year, but it's definitely an album worth keeping in mind.

7. The Jezabels - Prisoner

The scary thing about this album is that it still hasn't fully hit me. It's still hard for me to pick out an individual song on the album from just hearing it, but once the entire album has been swallowed by me, it could very well go down as one of the best albums I have ever heard. Combining the instrumentals of The National with female vocals, there is not one weak moment on this beautifully flowing album.

6. Saves The Day - Daybreak

Saves The Day is yet another band that has been often suggested to me, but never seemed to interest me. Daybreak has easily the best material I've heard by the band. The majority of pop punk aspects from the band's early days have dissipated, but the alternative rock influences fit Chris Conley's vocals perfectly. His high pitched voice is held in control, and the band's weakness in the past has now turned into a strength. Saves The Day went all out on Daybreak, proven by the title track, which is one of the most inventive songs in the scene in recent times. A five movement track, each individual movement flows perfectly from one to another, a technique that has obviously taken all of Saves The Day's seventeen years as a band to master. The acoustic version of the album is pretty good too.

5. Mansions - Dig Up The Dead

Dig Up The Dead gushes pure emotion. Chris Browder never holds his feelings back, as the heavily distorted guitars, depressing lyrics, and a vocal delivery that could make a serial killer feel remorse are constants throughout the album. While Dig Up The Dead isn't an easy listen, it's the perfect album to show that there is someone else out there who can feel the immense sadness that a listener may be feeling. The acoustic version of the album was completely recorded from scratch rather than using parts of the original album, and the stripped down nature fits the songs extremely well.

4. Transit - Listen & Forgive

2011 could easily be remembered as the year where a bunch of pop punk bands decided to diversify their sound and release some of the strongest records of the year. Transit continued adding the twinkly emo influences from the Promise Nothing 7", turning into a band almost indistinguishable from their early material. Many tracks, including "Listen & Forgive", "Long Lost Friends", "Skipping Stone", and "The Answer Comes In Time" are among the best tracks of the year, as Transit has established themselves as one of the most innovative bands in the genre.

3. Fireworks - Gospel

Fireworks always felt a notch below the rest of the new wave pop punk bands in the Run For Cover/No Sleep scene. However, Gospel knocked them up to the peak. Vocalist David McKinder has strengthened his vocals from a nasally mess to uniquely powerful, and the entire band has brought their instrument playing skills up another three notches. From The Graduate-esque riffs in "Arrows" to the dancy "Oh, Why Can't We Start Old And Get Younger", to the chilled out "Teeth" to the pop punk anthem "Summer", Fireworks covers all the bases and succeeds dramatically.

2. The Wonder Years - Suburbia I've Given You All And Now I'm Nothing

As The Upsides was one of my favorite records of 2010, I came into my first listening of Suburbia with extremely high expectations. Unlike The Upsides, Suburbia was a grower, taking dozens of listens to fully appreciate the improvements. The second half of the album took much more time to sink in than the first, but once the songs began sticking, it was obvious that Suburbia blows The Upsides out of the water, both instrumentally and in the quality and diversity of the tracks. Suburbia is a must have for any fan of catchy, upbeat music with substance.

1. Yellowcard - When You're Through Thinking, Say Yes

From the moment I finished with my first listen of When You're Through Thinking, Say Yes, the album was immediately the front runner for album of the year. Even while Fireworks, Transit, and The Wonder Years put out absolutely fantastic albums, Yellowcard was never challenged to lose the number one spot. The band brings the listener back to the glory days of Ocean Avenue, as the passion felt in that album is finally heard again in tracks such as "The Sound Of You And Me" and "With You Around". But the band has obviously matured and progressed, especially vocally, as Ryan Key's vocals are absolutely fantastic throughout the entire album. Coming back from a hiatus, releasing the album of the year, and recording and releasing an acoustic version of that album makes Yellowcard an easy choice for the band of the year.