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  • KEEPAWAY
    BLACK FLUTE

    WEDNESDAY, FEBRUARY 08, 2012 | POSTED BY: JOE PUGLISI
    Keepaway <br/><i>Black Flute</i>

    Bubbly, aromatic riffs, giddy vocals, and the occasional foray into Foley-level beat creation makes Keepaway's Black Flute the strangest, somehow captivating sonic journey of the year so far. The band earned some buzz with the perfect catchy fusion of electronic goof and indie swagger on "Yellow Wings," which was on just about every CMJ 2010 mixtape, but maintaining that delicate balance of synthetic and organic is no easy task, let alone for an entire LP. Luckily, the aged Keepaway has found a more suitable level of quirk, slowed down their pace a bit, and do their noises really well on Black Flute.

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    • OF MONTREAL
      PARALYTIC STALKS

      TUESDAY, FEBRUARY 07, 2012 | POSTED BY: CARIANNE HIXSON
      of Montreal <br/><i>Paralytic Stalks</i>

      of Montreal, founded by Kevin Barnes, has gone through a bit of a transformation since their/his start in 1996. Beginning as a twee-pop group and cycling through members and sounds until Kevin Barnes' was left to muse his way toward experimental-glamour, of Montreal's newest project, Paralytic Stalks, is a much different approach to their previous style. Barnes' battle with masochism seems to have beat him on this project, but that doesn't mean the album is a complete failure.

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    • THE UNTHANKS
      DIVERSIONS: VOL. 1: THE SONGS OF ROBERT WYATT AND ANTONY AND THE JOHNSONS

      TUESDAY, FEBRUARY 07, 2012 | POSTED BY: DON SAAS
      The Unthanks <br/> <i>Diversions: Vol. 1: The Songs of Robert Wyatt and Antony and the Johnsons</i>

      Live concert recordings can be a mixed bag. Some bands thrive on the freeform jam experience, and live recordings of their songs are considered the "definitive" versions. Live/Dead is as legendary as it is for a reason. However, more often than not, live albums simply lack the polish and attention to detail that made the studio records so mesmerizing. When I began The Unthanks live concert recording of beloved tracks by baroque pop artist Antony and the Johnsons and avant-garde jazz musician Robert Wyatt, I was obviously skeptical of pairing these classic tracks with covers by British folk musicians. All readers can leave those trepidations at the door because Diversions Vol. 1: Live from the Union Chapel: The Songs of Robert Wyatt and Antony and the Johnsons is a hauntingly beautiful take on some of the most inherently gorgeous music of the last ten years.

      . . . Click here to read more . . .

    • LEONARD COHEN
      OLD IDEAS

      MONDAY, FEBRUARY 06, 2012 | POSTED BY: DON SAAS
      Leonard Cohen <br/><i>Old Ideas</i>

      Leonard Cohen is one of the most prolific and treasured song-writers of the last 50 years, but the average listener probably knows most of his songs based on the more popular covers. The most obvious example is Jeff Buckley's take on "Hallelujah", but whether it's a more recent Cults' take on "Everybody Knows" or The Pixies re-imagining "I Can't Forget," you're more likely to associate his music with a different act rather than the genuine article himself. After filing for bankruptcy in 2005, Leonard Cohen has released his first studio album in 8 years. The appropriately titled Old Ideas finds a 77 year old Cohen looking back on his long life and contemplating death, regret, and the hazy reminiscences of the past. Leonard Cohen's songwriting is as strong as ever, and with subtle and quiet instrumentation, this long awaited album is a study in a man whose skills haven't come close to atrophying with age.

      . . . Click here to read more . . .

    • GOTYE
      MAKING MIRRORS

      THURSDAY, FEBRUARY 02, 2012 | POSTED BY: DON SAAS
      Gotye <br/><i>Making Mirrors</i>

      It is a favorite pastime of more "serious" music critics to turn their noses up in cynical dissatisfaction at "pop" music. If music can be enjoyed by everyone, can it really be worth listening to? Despite what the Pitchforks of the world might want you to believe, the answer to that question is a resounding yes. Think back to the unbridled wonder and joy you got when hearing "God Only Knows" growing up. It's arguably the most beautifully composed love song and pop song of all time, but it's universally known melodies and lyrics belie an inherent complexity to Brian William's songcraft as a true genius at his prime. Australian electronic pop artist Gotye is more George Michael than Brian Williams, but make no mistake, his newest LP, Making Mirrors is one of the most fun and intelligent pop records in years.

      . . . Click here to read more . . .

    • HOSPITALITY
      HOSPITALITY

      THURSDAY, FEBRUARY 02, 2012 | POSTED BY: DON SAAS
      Hospitality <br/> <i>Hospitality</i>

      Before this album dropped, we ran a story about the music video for lead single "Friends of Friends" starring Arrested Development star Alia Shawkat. "Friends of Friends" has been getting plenty of spins since it came out, and expectations for this quietly hyped group have been very high. Unlike the train wreck that was Lana Del Rey's debut Born to Die, Hospitality's debut is arguably one of the most fun debut records since the Cults' debut from last June.

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    • LANA DEL REY
      BORN TO DIE

      WEDNESDAY, FEBRUARY 01, 2012 | POSTED BY: CARIANNE HIXSON
      Lana Del Rey <br/><i>Born To Die</i>

      Only Elizabeth Grant could encompass exactly what her stage name implies. Drawing her forename from equally blonde and voluptuous 1940s actress Lana Turner and combining it with the name of a 1981 Ford Model Car, Lana Del Rey has created a sound that matches her nom-de-chanson perfectly-- her smash single "Video Games," that was digitally released back in October, melds sultry vocals with electronic ambiance to create a tone that is at once sweeping and bleak. Yet, Born To Die cannot flourish from one good single. And with fourteen disconcerted efforts to reach "Video Games" stature, Born To Die is a fifteen track failure.

      . . . Click here to read more . . .

    • CLOUD NOTHINGS
      ATTACK ON MEMORY

      TUESDAY, JANUARY 31, 2012 | POSTED BY: JOE PUGLISI
      Cloud Nothings <br/><i>Attack On Memory</i>

      Cloud Nothings latest LP starts out with "No Future/No Past," a hilarious title if you consider it a reference to the out-of-time punk rock sounds they are peddling on Attack On Memory, or their disdain for the fads of today's indie music. Tunes with this much immediacy owe everything (and nothing) to the amalgamations of years of rock sensibility. We hear it through the lens of the loud and loose four-chord bands of our youth, and the drone-y fogs of the future. Part of the success of their emotive songwriting is the rhetorical value-- our memories are being fucked with, and Cloud Nothings are removing and replacing the pieces with aggressive progressions we already know, words we've already heard, all different and all the same. Combine this with the impressive move from bedroom project to full-frontal four-piece rock band, and Cloud Nothings emerge as the most refreshingly energetic rock act in recent memory, sporting critic-fellatio and catching the ear on the first listen. A rare boast these days.

      . . . Click here to read more . . .

    • NADA SURF
      THE STARS ARE INDIFFERENT TO ASTRONOMY

      FRIDAY, JANUARY 27, 2012 | POSTED BY: MALCOLM DONALDSON
      Nada Surf <br/><i>The Stars Are Indifferent To Astronomy</i>

      When Nada Surf came out of exile in the early 2000s to release the underestimated Let Go, the band had discovered what worked for them in a new era, and spent the next decade fine-tuning their sound. The Stars Are Indifferent To Astronomy is a continuation of that fine-tuning. It's a collection of 10 mid-tempo power rock songs that are abound with catchy hooks. They can stay in your ear long after the songs are over. From the first play, the songs lend themselves easily to head nodding and foot tapping. Each song swings at about the same speed and structure. The chorus comes quickly, lead by Matthew Caws' youthful voice. The longtime trio is locked in sync together, held down by Daniel Lorca's understated bass playing and Ira Elliot's powerful drumming.

      . . . Click here to read more . . .

    • FIRST AID KIT
      THE LION'S ROAR

      THURSDAY, JANUARY 26, 2012 | POSTED BY: DAVID PITZ
      First Aid Kit <br/><i>The Lion's Roar</i>

      First Aid Kit has been gunning for America for quite some time. A few years back Swedish Sisters Johanna and Klara Söderberg found their first glimmers of fame here from miles away, riding a lovely YouTube stream from the forest to transatlantic desktops everywhere. Though a tribute ("Tiger Mountain Peasant Song") meant as a self-professed gift for the Fleet Foxes, the girls' joyful swoon and impeccable harmonies naturally found other eager recipients. A poignant collection of melody and lyrics in The Big Black and the Blue soon followed, and a slice of America's rich folk tradition was theirs for the taking. The girls' new offering The Lion's Roar suggests they prefer the whole pie this time around.

      . . . Click here to read more . . .

    • CRAIG FINN
      CLEAR HEART FULL EYES

      THURSDAY, JANUARY 26, 2012 | POSTED BY: DON SAAS
      Craig Finn <br/> <i>Clear Heart Full Eyes</i>

      First exposure to alt rock outfit The Hold Steady has become a rite of passage for my generation's indie loving youth. For college kids who received our modern musical education on the post-rock landmarks of Kid A or Merriweather Post Pavillion, hearing a band that was nothing more than straight-forward, in your face rock and roll was something akin to a revelation. Whether it was the classic rock of Separation Sunday or the "three chords and the truth" feel of Boys and Girls in America, listeners knew they were hearing one of the best pure rocks bands left in the country. Much of the success of The Hold Steady can be attributed to a combination of their melodic and hook-driven instrumentation combined with lead singer Craig Finn's literary and dense lyricism. When it was announced that Craig Finn was releasing a solo record, expectations were reasonably high, and while Clear Heart Full Eyes may not live up to the expectations set for it by Finn's work with The Hold Steady, it still serves as a reminder that Craig Finn remains one of the great storytellers in modern indie rock.

      . . . Click here to read more . . .

    • HOWLER
      AMERICA GIVE UP

      WEDNESDAY, JANUARY 25, 2012 | POSTED BY: JOE PUGLISI
      Howler <br/><i>America Give Up</i>

      Howler's sophomore LP America Give Up is a half homage to the great coastal surf rock of America, and half New York City garage punk, an odd combination given the band's origins in Minnesota. They didn't even have to move across the Atlantic (or at least to Brooklyn) to get a deal with the London based Rough Trade-- the label came to them, and for good reason. The songs all have a gallant momentum, following lead-singer Jordan Gatesmith's surly tenor with springy riffs and impressive songwriting polish for a band without the production resources of well-established sloppy pros like the Black Lips. The Lips had Pundt and Ronson to give them their band-out-of-time sound, but Howler has accomplished this feat both via classic songwriting, a bit of fuzz, and a smattering of unhinged "kids at play" licks.

      . . . Click here to read more . . .

    • CHAIRLIFT
      SOMETHING

      WEDNESDAY, JANUARY 25, 2012 | POSTED BY: DON SAAS
      Chairlift <br/><i>Something</i>

      With M83's Hurry Up, We're Dreaming as one of the undisputed highwater marks of the synth pop/rock revival movement that exploded over the musical landscape of the last year, Anthony Gonzalez's success has left almost unattainably high standards for any bands in 2012 who have more in common with the New Romantics than the indie rock acts of the late 90's and early '00's. With a sound that is equal parts Bjork, Florence + the Machine, and Duran Duran, Brooklyn-based synth pop duo Chairlift attempt to channel that same retro feeling on their third album, Something and while the album is cohesive and entertaining while listening, the album provides little in the way of memorable material that will stay with you after the nostalgia fades away.

      . . . Click here to read more . . .

    • THE DUKE SPIRIT
      BRUISER

      TUESDAY, JANUARY 24, 2012 | POSTED BY: CARIANNE HIXSON
      The Duke Spirit <br/><i>Bruiser</i>

      Even with the depature of guitarist Dan Higgins, The Duke Spirit continues to exemplify what rock n' roll is, bringing music back to its roots while lightly seasoning tracks with new-age, psychedelic undertones. Although their fan's loyalty and commitment to the rock genre is prevalent by sticking with the somewhat gothic, fully punk sound they started with in 2005 (on their debut album Cuts Across The Land), it seems they can't submit themselves to the popular changes that are taking place in music today. They may be caught in the crossfire of trying be what they were and attempting to be what they're supposed to be-- the lack of inclination to either shows on Bruiser.


      . . . Click here to read more . . .

    • MATTHEW DEAR
      HEADCAGE EP

      FRIDAY, JANUARY 20, 2012 | POSTED BY: JOE PUGLISI
      Matthew Dear <br/><i>Headcage EP</i>

      Matthew Dear's long and exasperating career in dance, techno, avant-pop and everything in between is enough to keep one occupied for days on end. But his lengthy discography has never inhibited one from jumping into the fray mid-cycle, and his latest, Headcage EP is no exception. Although it's a bit more Talking Heads than his 2011 LP Black City, and definitely sprightlier, it hints at where his next series of preoccupations might be headed.

      . . . Click here to read more . . .

    • THE BIG PINK
      FUTURE THIS

      TUESDAY, JANUARY 17, 2012 | POSTED BY: CARIANNE HIXSON
      The Big Pink <br/><i>Future This</i>

      British duo The Big Pink release their second studio album Future This two years after the debut of their first album A Brief History of Love. The album couldn't be more suitably titled as Robbie Furz and Milo Cordell seem to have taken their previous tone doused in sometimes ill-fated love and replaced it with an existential sound, full of experimental (and sometimes hip-hop) influenced, electronic samples.

      . . . Click here to read more . . .

    • SNOW PATROL
      FALLEN EMPIRES

      THURSDAY, JANUARY 12, 2012 | POSTED BY: JOE PUGLISI
      Snow Patrol <br/><i>Fallen Empires</i>

      Snow Patrol's latest is by far their longest effort, and the one with the most depth, making it a rewarding outing for old and new fans-- if they're willing (or aware they should) put in the time to explore it. It's been a long time since "Run." The band has been unfortunately dormant since the success of their Jacknife Lee produced 2005 breakout album Eyes Open, whose single "Chasing Cars" was pigeonholed as Lite FM rock and left the band on Grey's Anatomy Soundtrack levels of perception. And upon first mention, there is no reason to believe otherwise of their latest, Fallen Empires, which clocks in at 57 minutes and begins with the band's signature drone-y riff style.

      . . . Click here to read more . . .

    • RICK ROSS
      RICH FOREVER

      TUESDAY, JANUARY 10, 2012 | POSTED BY: JOE PUGLISI
      Rick Ross <br/><i>Rich Forever</i>

      To reduce Rick Ross and his validity to lyrical thug credentials and heavy-handed production would be unfair if it weren't so easy. From his dramatic four-chord riffs to star-fueled guest vocals (Diddy, John Legend, Nas, Kelly Rowland) and repetitive shouts to his company Maybach Music, it's all a bit cartoony. Even his voice seems packaged as a brand of brash, corrosive thug slathered on "epic" beats spitting every rap trope you could possibly imagine. We've arrived at the day when luxury brands sound like they were made for rap verses, not the other way around-- where else but in a rap song would you repeatedly hear "Bugatti" utilized in such a chewy manner?

      . . . Click here to read more . . .
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